>> no, you see, in the winter that seat is close enough to the radiator that's warm yet not so warm that he sweats. in the summer, it creates a cross breeze by opening windows there and there. >> perhaps there's hope for you after all. ♪ ♪

♪ ♪ ♪ ♪

♪ with "gladiator," the producer said, listen, i want you to look at this first before you even read anything. and he showed me this painting. it was the corner of clearly the coliseum, so you have him standing over a slave who is about to get killed. he's looking up for permission at the guy who is clearly nero who is doing that, in other words, kill him. and i said, i'll do it. he read the script and said, i don't care, i think we can get this right, let's do it.

>> are you not entertained? are you not entertained? isn't that why you are here? >> i must have had half a dozen phone calls with ridley about russell. i think he was a really raw talent who was just discovering the power he had. >> slave. remove your helmet and tell me your name. >> he's marvelous. russell's big thing is that heart he has in his voice. >> my name is maximus meridius, commander of the armys of the north, loyal servant to the true emperor, marcus aurelius, father to a murdered son, husband to a murder wife. and i will have my vengeance in

this life or the next. >> he's a character actor. that's what he loves, is to fully create a character. >> worthless, discarded. there's no mission. while you drool, the world will burn down. >> you are not real. you are not real. >> you're still talking to me, soldier. >> he finds himself within those characters and he embodies them in ways that make you lose yourself in that world. so he's really helping the director to create and transport beyond his own status and presence. >> there's two things that aggravate me, mr. mazri. being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trusted you. >> sorry about that. >> i don't need pity. i need a paycheck. and i've looked. when you spend the last six

years raising babies -- are you getting this down, honey, or am i talking too fast for you? >> a paralegal who files a class action lawsuit against a company that has poisoned the community and then lied about it. >> to get to be in the orbit of steven soderbergh and feeling like you had found your person, like we just came together at the right time with the right material, and one of his great talents is casting people. aaron eckhart and albert finney. >> you're eratic, anything that comes into your head, you make this personal. >> my time away from my kids, if that's not personal, i don't

know what is. >> a complex, layered performance. you have got all of julia roberts in this film. >> and the oscar goes to julia roberts. >> the oscars. what does it mean? i don't know. do we want them? of course we do. it's this great piece of recognition that will stand the test of time and it's a really special moment. >> ha ha, i love it up here! >> steven soderbergh and george clooney sent me the script for "ocean's 11" with a $20 bill, and it said, we hear you get 20 a picture. they were paying me in advance. >> you're not wearing your ring. >> i sold it. i don't have a husband. or didn't you get the papers? >> my last day inside. >> i told you i would write. >> george clooney is the one

that convinced his friends to be his fellow cast members. and it was just fun. there's something very special about seeing this kind of star power, this charisma onscreen. >> did you guys get a group rate or something? >> stars become for a while the most dependable elements in movies which is why their salary goes up. the power balance in movies changes. it changes from an industry that at first was studio driven, and then was director driven, to an industry that is star driven. >> i have made fire! >> by changing the balance, it changes the kind of movies we get, ones that ultimately centralize the star. ♪

>> today is training day. i'll show you around, give you a taste of the business. i supervise five officers, that's five different personalities, five sets of problems. you could be number six if you act right. >> "training day" is an otherwise small film without denzel's presence. and the energy that denzel brings to that alonzo character makes him really hard to take your eyes off of. >> 1149998. shots fired, officer down, repeat, officer down. 5951 baxter street. >> congratulations, son. you're going to get a medal of valor for this. >> i didn't shoot him. >> a roomful of cops you did. >> but i didn't. >> every scene i did with him on

the first day was the reason i wanted to make movies. i was so into watching these two guys' performance that i forgot to yell "cut" sometimes. and they just kept going. >> play the player. don't do it. >> there was a scene where they got in a fight and denzel puts the cigarette down and picked it back up. i was about to yell cut because the scene was over and he kept going. he lit it. i saw it in his eyes, it was a long lens, i could see something happening, he was on fire, man. >> i'm the man up in this piece. you'll never see the light of [ bleep ] i'm the police. you just live here. yeah, that's right, you better walk away. but and walk away because i'm going to burn this [ bleep ] down. king kong ain't got shit on me.

>> denzel is a gift to us. watching him in the movie is one of my joys. >> from the bottom of my heart, i thank you all. 40 years i've been chasing sidney, they give it to him the same night. >> you have denzel washington winning best actor, halle berry winning for "monster's ball." >> in the first 73 of history of the oscars, only one african-american had ever been named best actor or actress and now after last night, the number is three. >> it was just a great moment for black actors, for black cinema, and the struggle. let's be honest,

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look at this. an entire generation of cinderellas and there's no slipper coming. >> you want to get high? >> all i have to do is listen. that's what lester banks said. >> i really loved playing elaine miller in "almost famous" with cameron crowe. it was basically a love letter to his mother. >> don't take drugs. >> it's about my childhood

growing up in a family where rock and roll was deeply suspect. >> he was thrust as a young boy into this world of rock stars and groupies on the road. >> ladies and gentlemen! >> seeing the freedom and the heartbreak that comes along with that freedom was really exquisite. >> there were two scenes. there was penny lane dancing to the wind, the cat stevens song. that felt like the soul of the movie. also the scene on the bus where they're singing "tiny dancer" is a way of bringing the band back together. >> i have to go home. >> you are home.

>> what i love about cameron is that he is a deeply devoted fan of film. and the best of his films are because of the way he studied them and the love that he has for the craft. and i think "almost famous" is his best example of that. ♪ there was a boy ♪ a very strange enchanted boy >> baz lerman's "moulin rouge." >> nobody wanted to make musicals. it was such a trailblazer as far as how musicals were shot and also the type of music that was used in it.

♪ >> every song, it wasn't like i got my favorite record collection together and went here's a catalogue of songs, let's find a narrative. the musical numbers are in fact that particularly difficult craft of not being a poem which is what most pop music is, but actually they're linear. they're telling stories. ♪ a kiss on the hand >> there had to be a degree of challenge in the rhythm of it. we had to kind of smash the door in or really get in your face about the music.

we had to say, are you going to accept the contract and come with us or not? ♪ believe me when i say >> musicals are cyclical, like many other genres. and i think "moulin rouge" opened up the possibility for musical cinema. >> when "chicago" originally opened on broadway in the '70s, people thought bob fosse's version of the world was too dark and cynical. but by the dawn of the 21st century, he was right on it. ♪ to do that jazz >> let's go, baby. >> "chicago" was thought to be unfilmable.

people have been trying to make an adaptation for years. what rob marshall was able to do to make the musical numbers in roxie's mind, the idea that she was a character that was envisioning musical numbers was brilliant. ♪ he had it coming ♪ he had it coming ♪ he only had himself to blame ♪ if you'd have been there, if you'd have seen it, i bet you you would have done the same ♪ >> i firmly believe the time has come for a great musical. when you see things like that, working in the marketplace, and audiences having a real interest in them, it certainly emboldens filmmakers to come along with their own musical ideas.

♪ >> animation took a real pivot at a certain point. >> now tell me, where are the others? >> eat me. >> filmmakers figured out you could broaden the audience from 3 to 80. no one is left out. >> i'm telling you, big daddy, you're going to be seeing this face on tv a lot more often. >> metropolis' most wanted? >> you've been jealous of my looks since the fourth grade. >> i'm the dope who turned down "toy story." so when pixar called about the next film, i said, i'll do it. i could hear the laughter on the other side. >> thanks a lot, remember, tip yo your waitresses. >> pixar films are

sophisticated, in terms of visuals, in terms of script, in terms of characterization. and no one does it as consistently as pixar. they work miracles almost every time out. >> "incredibles" was pixar's first pg-rated computer animated film and at the time it was considered kind of a risky thing. it's an action film but people assume because it's animated that it's a certain kind of film. and that tells me that the medium needs to bust out a little bit more. >> brad's characters are real and accessible. and i think that was new with "the incredibles." it was the polarity of what's mundane and being heroic, being slammed up against each other. >> that will take me downtown.

>> don't take that! >> pixar is to me the best because they will dare to be really real. look at the opening of "up." >> it's a beautifully poetic sequence and sets the table for the movie to come. it begins very cheerfully and goes somewhere incredibly sad. >> that capturing of that relationship from beginning to end, it gets everything. it makes you cry and it gives you the sense of loss in a way that's so powerful. and this is the opening of the movie. i was coming in here to laugh but you just rocked me before it even started. and you go, what balls.

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of filmmaking that is glossy, that's fun, that's romantic, and that acknowledges the lives of the women who are watching the movies. >> why is it you broads want all or nothing? >> i don't know, we're just goofy when it comes to love. >> her movies are really fantasy movies, they're just the fantasies of different people. >> someone's having a party tonight. >> oh, yeah. >> usually women, usually of a certain age. and their fantasies are ones we don't often get to see on the big screen. >> no, you're not. >> oh, yes, i am. i am having an affair with agnes adler's husband. >> woo! >> you have traditionally masculine males who actually listen to and learn from their female counterparts. >> are you okay? see, too much. >> okay.

good note. >> that's an irresistible message to the female office. >> on my wedding night, my mother, she said to me, greek women, we may be lambs in the kitchen, but we are tigers in the bedroom. >> please let that be the end of your speech. >> what's going on here? why isn't anybody ready? >> the genesis of "my big fat greek wedding" is i grew up so surrounded by opinions and aunts with mustaches telling me when i should get married and when i should have a baby. at the time it was so annoying. then i realized i could write a story about this. >> i'm good. >> i'm going to snap you like a chicken. >> i thought we would be shown in church basements and then we got released in theaters. they're calling it the little

movie that could. "my big fat greek wedding" has been a big fat hit at the box office this summer. >> it was the top grossing romantic comedy and independent film of all time. >> you're so beautiful. >> she was able to turn her charming one-woman show into a global phenomenon. what's not to aspire to, if you write romantic come ddies and movies about women? >> we have to first get out of this bar and then the hotel and then the city and then the country. are you in or are you out? >> i'm in. >> "lost in translation" is sophia co sophia coppola's second film. >> in "lost in translation" she tells a story that's so

distilled and so universal of the lonely woman missing her husband in a hotel and the extraordinary friendship she strikes up with the character played by bill murray. >> for relaxing times, makes it centori. >> murray had given us a clue to his dramatic side. he's playing a celebrity, playing a well-known movie actor but one who is sort of dead inside. this friendship he strikes up with this younger woman brings him back to life, in a way. >> i don't want to leave. >> so don't. stay here with me. we'll start a jazz band. >> that movie and his performance in particular, i was very relieved to see a comedian doing that. when you actually get more out of the human being, that is a comedian. fascinating.

>> my name is joel barish and i'm here to race clementine. >> jim carrey, "spotless mind," he is great in that film. he has ever conceivable tool that actors have and he knows how to use each one at their own right level. >> you want to call it off? can you hear me? i don't want this anymore. i want to call it off. >> charlie kaufman to me is one of those writers who is at his strongest when he's working with the right director. when he and michelle get together, that's when you can see what they can really do. "eternal sunshine of the spotless mind" makes you feel good about hollywood. it makes you feel it's not always the lowest common denominator. sometimes something really unusual and smart can stand out. >> i love you.

>> meet me in montaugh. >> it's a film that comes to the resolution where maybe true romance is agreeing that your relationship is going to be difficult. >> jack twist. >> ennis. >> your folks stopped at ennis? >> delmar. >> nice to know you, ennis delmar. >> when i first read the story "brokeback mountain," i knew it was powerful. i felt that it would upend many people's view of two young men being in love and the constraints and the challenges that they would have. >> this is a one-shot thing we got going here. >> it's nobody's business but ours. >> you know i ain't queer.

>> me neither. >> a lot of the gay movies up to that point were either kind of cult movies that existed in this gay universe that made gay people seem weird or evil or suspect or kinky. and "brokeback mountain" was one of the first movies that felt like a mainstream hollywood romance. >> i've got to go. >> i was so frustrated that they kept calling it the gay cowboy movie. it was not that, it was this haunting, beautiful, tragic love story of two men who were essentially just trying to exist. >> it's heartbreaking before you even get to the end because you're rooting for them, and jack seems to be willing to try in a way that ennis delmar just can't. >> i wish i knew how to quit you. >> then why don't you? why don't you just let me be,

huh? >> people ask me all the time, what was the theme of "brokeback"? i said, it's summed up in one word, and that word is "compassion." >> it's all right. [ crying ] >> whatever their beliefs were, i wanted people to come away from that experience feeling it shifted them emotionally somehow but they weren't quite sure how. i wanted them to be deeply affected by it, the way i was affected by it. ♪ (vo) in every trip, there's room for more than just the business you came for. ♪ let's make the most of ♪ ♪ what we've been given whether that's getting a taste of where you are... ♪ let's get to living ♪ ...or bringing some of that flavor back home.

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♪ "there will be blood" is my favorite p.t. anderson film and daniel day-lewis plays a character that i still can't wash off, there's not enough soap to wash off the memory of that character. >> i think anderson is one of america's finest filmmakers.

all the films that he's made bring you into a world that is utterly unique with characters who are repellent and really attractive all at the same time. >> you look like a fool, don't you? >> yes. yes. >> we already knew daniel day-lewis was a phenomenal actor. but daniel day-lewis and paul thomas anderson together is pretty perfect. >> the great thing with daniel, especially in that film, is tsit it's intense but it's also really fun. it's mischievous fun. >> i drink your milkshake. i drink it up.

>> with him, i saw a person working another way. once he was in character and people always say, he stays in character, it's a mythology, it's easier for me, it's the character. i'm talking to bill the butcher. >> somebody steals from me, i cut off his hands. he offends me, i cut off his tongue. he rises against me, i cut off his head, stick it on a pike, raise it high up so all in the streets can see. that's what preserves the order of things. >> once i saw daniel work that way, there was an intensity there that was very delicate. >> i am president of the united states of america, clothed in immense power. you will procure me these bones. >> he was a miracle as abraham lincoln. i'm so honored he finally said

yes after my pursuing him for ten years. daniel is one of the greatest actors who ever acted in front of a camera. >> it's a mess, ain't it, sheriff? >> it will do 'til the mess gets here. >> no country for old men" is based on a cormac mccarthy novel. james brolin plays a ranch hand who finds a suitcase of money in the aftermath of a drug deal that goes awry. >> what's in that satchel? >> full of money. >> that the will be the day. where did you get that pistol? >> it's an extraordinary collaboration between a novelist and filmmakers. >> it's just a beautiful film from start to finish. it's the way they wrote their villain that makes at it best

movie of the 21st century. i still think about him flipping the coin at the gas station. >> you know what date is on this coin? >> no. >> 1958. it's been traveling 22 years to get here and now it's here and it's neither heads nor tails and you have to call it. >> look, i need to know what i stand to win. >> everything. >> how's that? >> you stand to win everything. call it. >> all right. heads, then. >> well done. >> the coen brothers are incredibly evocative because they're purposely trying to bust up a normal. their "true grit" is an absolutely perfect motion picture. >> running them cheap shells on

me again. >> i thought you were going to say the sun was in your eyes, that is to say, your eye. >> you've got filmmakers who begin in the late '80s or '90s who are just determined to always make the movies they want to make. as much as studios gained control and as much as money becomes the coin of the realm, the spirit of the 1970s, the idea that the filmmaker could still be the one in charge, will continue to sustain itself through the work that they do. >> "royal tennenbaum" because the house on archer in the winter of his 35th year. >> a wes anderson movie is meticulously composed, beautifully designed and curated to the last detail and tends to take place in a world that's almost a bubble, sort of siloed off from the outside world. >> let me ask you something. you think i'm especially not a genius?

you didn't even have to think about it, did you? >> real originality in filmmakers is pretty rare and i think wes had it literally from inception. >> what's all this lumber for? >> we're building a tree house. >> where? >> here. >> there is a level of invention in his stories that feels incredibly generous. you go, where does he come up with these ideas, these lone details that fill out this whole universe? it almost feels like a come pulsive quality. it's both inspiring and intimidating because it's so rich in its invention. >> each and every man under my command owes me 100 nazi scalps and i want my scalps. and y'all will get me 100 nazi scalps taken from the heads of 100 dead nazis or you will die trying. >> quentin tarantino.

there is just stuff in all his screen plays like in "glorious basterds." there are things that should not land as cleanly as they do. >> tarantino in the 2000s is giving us the ending to the story that we wish history had given us. the bad guys in history lose. ♪ >> he had the singular ability to write these original movies that were often very violent but they were also referencing old movies while completely reinventing the form and making it possible for audiences to find them accessible and entertaining. and that's really hard to do, and he did it over and over and over again, and continues to do

it. >> you son of a -- [ explosion ] ♪ he's the guy who's the talk of the town ♪ (smoke alarm) ♪

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good luck, harry potter. >> when "harry potter" came out, it was right after 9/11, and people needed to go escape to a world of wizardry and magic. >> oh, look. who is that girl? >> welcome to hogwarts. >> there was tremendous anticipation for this film. and of course we met with jo rowling and we were very careful to run everything by her and to be sure that we had her blessing because she wasn't sure that she wanted to have the movies made at all. >> i took warner brothers' word

for it that they would be very true to the book and they have been, so i'm very happy. >> "harry potter" is this idea of this young boy who not only does he not think there is anything special about him, but he's mistreated. >> there is no such thing as magic. >> and then to find out you're actually the heir of this amazing wizarding family and that you are unique and special and you have this whole destiny in front of you. that's every child's fantasy. >> curious. very curious. >> harry potter film franchise like the "harry potter" book franchise was just something that defined a generation. >> welcome home. >> the design of hogwarts, that whole world building of the "harry potter" movies, is really impressive. especially in the later movies when they started to have a consistent directorial style. >> the idea and the magic of a

world like that gives an audience comfort when they see it over and over again. >> blimey. >> it certainly underscored the importance of literary properties. if you are faithful to the underlying source material, the audiences will embrace it. >> "lord of the rings" is one of those rare examples of a film that lives up to the hype and lives up to it three times in a row. >> are you frightened? >> yes. >> not nearly frightened enough. i know what haunts you. >> it is one of the craziest achievements of modern filmmaking, the insane gamble to make these three epic, huge fantasy films all together. >> you shall not pass! >> peter jackson, the incredible

visionary director. he was in charge of seven separate film units shooting the various storylines or battles. how he kept all of that together is unbelievable. >> when j.r.r. tolkien could write, he could write about these amazing battles and massive fantastical worlds. and what jackson was able to do was make that seem real in a way that you just hadn't really seen in fantasy films before. >> my precious. >> when i met with peter and fern walsh, they said, look, we want an actor to play the role of gollum so that whoever is playing frodo and sam are not going to be making decisions for gollum as a character. they said there's this new technology we're looking at which is called motion capture. i fell in love with the idea of it. it was a real epiphany when i first stood in front of the monitor and was able to move as gollum and see the avatar of

gollum moving in real time with my physical performance. >> you were not so very different from a hobbit once, were you? smeagol. >> what did you call me? >> the "lord of the rings" trilogy is this marker of the 2000s. it's changing technology. it's introducing you to actors that now are household names and it's an epic that i don't think we've felt in culture since the original "star wars" films. >> master baggins, i suggest you keep up. >> if you look at the number one box office hit from 2001 onward, with the exception of "american sniper" in 2014, every single one of them is a franchise film. >> welcome to the caribbean, love. >> the studio executives started seeing that's the direction we want to go. they're not looking for a single

project. they want the next franchise. they want something that is not going to give them one hit film, but it's going to give them a series of hit films they can then spin off into a whole world of ancillary markets and television and video games and everything else. >> i think what paul greengrass did in the "bourne" films was completely reimagine the way that action films have been shot. he just pushes the boundaries. ♪ >> can you open the door? >> ethan? >> i can't get enough of the "mission: impossible" franchise. they clearly have such ambition to make each one better than the last one. >> i don't think there is any question at this point that we're going to look back on this as the age of franchises. even comedies get franchises. three "hangover" movies, four "men in black" movies. >> does that come standard? >> actually, it came with a

black dude, but he kept getting pulled over. >> yeah? >> the machine keeps getting turned over. there's always more content to be made. >> ready? >> ready. >> steady. go! y occasion the perfect coffee occasion. family brunch! just add ground coffee for a carafe, or pop in a pod for a freshly brewed cup. good strong coffee. our french roast. it was a decaf for you, yes? in your favorite mug. there we go. (paul) sprint's holiday deals i need help spreading the word. (snowman paul) snowman paul here! hurry in and switch to save your family money on the samsung galaxy s10 for just $0 a month. (snowman paul) $0 a month! i was literally built for this. for people with hearing loss, visit sprintrelay.com (vo) in every trip... there's room for more than just the business you came for. ♪

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cheryl, it's cindy. remember when olive was here last month? she was runner-up in the regional little miss sunshine. they just called and said the girl who won had to forfeit her crown. i don't know why. something about diet pills. but anyway, now she has a place in the state contest in redondo beach. [ screaming ] >> oh, my god. i won! >> "little miss sunshine" was the first script i wrote where i started with the ending and then reverse engineered the rest of the story. >> and the new miss america -- >> one day i'm sitting at home and watching tv and there's footage of this little child beauty pageant. and there's always little skinny blond girls walking around. and i just thought to myself wouldn't it be great if an unconventional girl got up there and she busted out and rocked the snous i was like i know that's a good ending. i know that's going to be a good ending. ♪ the boys in the band she says i'm her all-time favorite ♪

>> you could feel everybody in the theater was laughing, like, at the same time, and it's, to me, there's nothing else better than that. ♪ the girl's all right with me and only movies can do that. to get everybody in one room laughing together. it's like you're communing with the gods, basically. the gods of laughter. >> yechmes. my name borat. i like you. i like sex. it's nice. >> "borat" is a very interesting mockumentary. sacha baron cohen plays a fictional character but goes out and interacts with the real world. >> my name is mike, i'm going to be your driving instructor. welcome to our country. okay? >> my name a borat. >> okay, good. good. i'm not used to that, but that's fine. >> you can't measure the impact of putting that character in a real setting where reality and fiction and comedy and drama and all these different things

merged in such an original way. ♪ people stop and staring >> and sacha as borat, that is the breakthrough acting performance of moderntimes. >> lift your hands. and begin to worship. >> he was like a method actor and had to really have a lot of touchstones so he could do the performance. because he's not acting with other actors. he's not acting on a set. he has to pretend he is this character and they have to believe it. >> we're on air right now doing the weather. >> because the second they don't believe it, the scene's over. >> the big part of the fun of the movie was we were robbing banks comedically, and when we were done, the giddiness, the exhilaration of that experience was unmatched. >> frank! >> hey, honey. hey. >> what the hell are you doing? >> we're streaking. we're going up through the quad to the gymnasium.

>> who's streaking? >> there's -- there's more coming. >> frank, get in the car. >> everybody's doing it. >> now! >> okay. >> just hearing will's name puts a smile on my face. i remember him making "old school" and everybody got that taste of like oh, you want to see a [ bleep ] genius on a movie screen? here you go. here's will ferrell. >> sorry i can't ride with you the rest of the way up, but this is where my dad works. well, have a good -- oh, i forgot to give you a hug. >> i think because he came from the groundlings and came from "snl" he's very aware of where the laughs are, what the rhythm of the scene is. >> santa's coming to town. >> santa! oh, my god! >> he could flow with the scene and change it. he's more like a jazz musician who will improvise around him versus somebody who is used to reading off sheet music. >> ladies and gentlemen, can i please have your attention? i've just been handed an urgent and horrifying news story and i

need all of you to stop what you're doing and listen. cannonball! >> i love "anchorman" so much. at that time this was a big deal that he was making a movie that was his and adam mckay's sense of humor who were both "snl" guys. and it was all the goofy shit that he does best all wrapped in one. >> ah! >> ron, where are you? >> i'm in a glass case of emotion! >> he's going to put corningstone on. he's going to put corningstone on! >> i've got to do the news! >> a lot of what we think of now as 2000s comedy is somewhere in "anchorman," whether you're talking about writers, directors, producers, co-stars, cameos. >> como estan, bitches.

>> but i think apatow is definitely the most significant participant in that film in terms of steering what film comedy would become over the years. >> you're going to look good after this, man. >> thanks, man. >> so ready? >> yeah. >> [ speaking foreign language ] >> oh, you [ bleep ]! oh, i'm sorry. i'm sorry. that's just your job. >> i think judd apatow changed the landscape of comedy in the 21st century completely. >> i'm pregnant. >> what? >> i'm pregnant. >> with emotion? >> it's comedy infused with the heart of jim brooks but with the outrageousness that is going to just absolutely kill. it's going to bring the house down. ♪ i'm just a crazy kind of girl ♪ ♪ i'll tell it to the world ♪ i'll just become >> "bridesmaids" comes out and it's a really surreal experience

watching that movie because you actually feel as though these are real women. >> ew, you had sex with him. >> we had an adult sleepover. >> oh, did you let him sleep over in your mouth? annie! >> i'm sorry. >> you're unbelievable. >> he kept, like, putting it near my face. >> they do that, don't they? >> they do that. let us offer. if we don't offer. >> just slap it away. >> i couldn't. >> that scene with kristen in the beginning, i am really proud of that one in that i feel like it does capture their chemistry and you understand their friendship so quickly in their familiarity with each other. >> what is that? >> i got engaged. >> what? >> he asked me last night. >> what? >> i know. >> it showed female relationship in their entirety, in their awful, unattractive some days i love you even though i hate you side of female relationships and

it revolutionized the idea of what could be female and what could be funny. >> you got food poisoning from that restaurant, didn't you? >> no, i had the same thing she had and i feel fine. >> oh, my. okay. >> oh, no. >> what's happening? >> nothing's happening. >> the poop scene, actually, that wasn't even in the script. >> no. not the bathroom. everybody, go outside. i'm serious. >> at rehearsal john and paul came up with the idea, like what if you guys eat some really bad food and get the shits? >> it's happening. it's happening. >> up until that point it was rare to see women being real in a hardcore comedy. and that movie is unprecedented because of it. >> it happened. it happened. >> and think how many people's careers have been made by that movie. >> you want to get back in that restroom and not rest? >> no. i have to get back to my seat. >> yeah. you've got to get back on my seat. >> melissa mccarthy got an oscar

nomination for that part because she's just such a force of nature. >> hey, hey! good news. good news, i found his balls. yeah. shove those back up there. >> oh, my god. melissa mccarthy, she's a genius. and she's not just funny. she can do anything. >> i'm so bad-ass! whoo-hoo! great-tasting ensure. with nine grams of protein and twenty-seven vitamins and minerals. ensure, for strength and energy. finduring the kayat friends and family event. come in and get 25-50% off everything. like this diamond necklace, now under six-hundred dollars. every best. gift. ever. begins with kay. they can save you these. in fact, if you had a dollar for every time they said it,

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up ahead was pandora. i grew up hearing about it but i never figured i'd be going there. >> with "avatar," james cameron wants to bring back the spectacle of a 3-d movie and it's geared towards the theatrical experience which i feel like is part of james cameron's genius is he wants to make a movie that makes you have to see it in a theater. >> you should see your faces. >> studios were really in love with pre-existing intellectual properties. "avatar" was an idea he had been ruminating on for a long time. it's original and that is a wildly risky thing to do at that budget level. >> i remember taking my then 9-year-old son to see it and we just sat there in 3-d awe. to be so immersed in that world

was mind blowing. everything felt real. everything feld tangible. it felt like this world existed. >> "avatar" came out and became the highest grossing movie of all time for the second time in james cameron's career. and it's interesting that at the same time, james cameron's ex-wife kathryn bigelow directed a movie that couldn't have been more different. >> if everything looks okay when i get down there i'm just going to set it up. give these people something to think about. want them to know if they're going to leave a bomb on the side of the road, we're just going to blow up their [ bleep ] road. >> sounds good. >> in making "the hurt locker" what kathryn bigelow did was essentially make a war film as a suspense thriller. you sort of shifted the parameters of the war film. so you don't get these big battle sequences and it's just this one person going into the realm of danger. >> oh, my --

>> kathryn bigelow is just a master of building suspense. she is taking the violence apart to look at something deeper. what would drive these men to want to disarm bombs and how it becomes an addiction. >> this is suicide, man. >> that's why they call it a suicide bomb, right? >> [ speaking foreign language ]. >> catherine knows exactly what she wants. she is incredibly inventive. intrepid. never reckless but always experimenting. she is a great, great film artist. >> now in our countdown to the oscars, director kathryn bigelow has a chance to make hollywood history. she's just the fourth woman ever nominated for best director and she would be first ever to win the award. >> as we're getting towards oscar season where the big rival is james cameron's "avatar,"

kathryn bigelow's ex-husband has made the biggest movie of all time, there's this underdog quality and obviously the milestone quality of bigelow being up for best director that just makes the movie kind of this unstoppable force. >> well, the time has come. kathryn bigelow. whoo! >> what's interesting about her is she was very happy for the recognition from her peers. but then again, she didn't want to pivot and be the poster woman for women in hollywood. not everybody wants to carry that mantle. she isn't wearing her gender on her sleeve. she is a filmmaker making films. >> jessup signed over everything. if he doesn't show at trial, see, the way the deal works is you all are going to lose this place. got some place to go? >> i'll find him.

>> girl, i've been looking. >> i said i'll find him. >> the stories i tell from the social realist tradition, patience is required. but when it works, it is absolutely where i want to be working. because i do want to be able to tell stories from everyday life. that's the place where one can do that. >> jesus. dad's your only brother. >> you think i forgot that? huh? coming on 40 years, but i don't know where he's at and i ain't going to go around asking after him neither. >> "winter's bone" still stands as one of the best indies at that time. it gets the grand jury prize at sundance which was a great honor for at least a small movie by a not very well-known director. and it also got a lot of oscar nominations. >> the film had this really compelling presence at its center played by jennifer lawrence, and this is the birth of an extraordinary career. >> i volunteer. i volunteer!

i volunteer as tribute. >> i believe we have a volunteer. >> jennifer lawrence goes from being this fresh face in "winter's bone" to becoming the face of a massive franchise in "the hunger games" movies. >> thank you. for your consideration. >> then an oscar darling with movies like "silver linings playbook." >> forget i offered to help you. forget the entire [ bleep ] idea because that must have been [ bleep ] crazy because i am so much crazier than you. >> keep your voice down. >> i'm just the crazy slut with a dead husband! ha, ha, ha, ha, ha! forget it! >> shut the [ bleep ] up. >> she was great. i love jennifer. her character was so powerful and strong and she he did it so well. i didn't trust her before but i got to say now i do. >> now you like her, dad? >> i have to say i do. yeah. >> when she wins the oscar for

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so where are you? you're in some hotel room. you just wake up and you're in a motel room. there's the key. it feels like maybe it's just the first time you've been there, but perhaps. >> "memento" is a fractured narrative neo noir about someone who has lost their memory played by guy pearce. >> i guess i already told you about my condition. >> only every time i see you. >> it's a fast fun movie that was an introduction to a filmmaker with a hell of a lot of talent. with chris nolan, you see this guy who is having a great time making a movie and seeing what he can get away with. >> you said we talked before? i don't remember that. >> he's playing with chronology, he's playing with narrative structure, but he's also telling a really tragic story. and telling it through the eyes of a character who we sympathize

with while know nothing about. >> i need a routine to make my life possible. no drive, no reason to make it work. hmm? yeah, i got a reason. >> i love chris's films. it's a rarified air to be able to occupy a place where you're so cinematically intelligent and popular at the same time. >> the "batman" films had been done a number of times. and it's always risky to bring back a film and to make yet another origin story. but chris nolan came in and met with me and walked me through the entire story. beat by beat by beat by beat. and i greenlit it in the room. >> christopher nolan gave the batman story both a mythical

dimension but also a very gritty in the moment kind of reality. >> what? >> chris nolan knew what he was doing in casting christian bale and he knew what he was doing by making it a realistic portrayal of batman to where you could believe that this was how a billionaire kid became the dark knight. >> good evening, ladies and gentlemen. we are tonight's entertainment. >> in "the dark knight," heath ledger chose to play the joker as a genuine psychopath. >> ha, ha, ha. >> in a way that raised the stakes for the entire property. >> we knew it was open for a fresh interpretation and i also instantly kind of had something up my sleeve which happened to be exactly what chris was kind of looking for.

>> the joker has always been a somewhat ambiguous character. but what heath ledger did was make him truly malevolent. >> you're not as crazy as you look. >> i told you i'm a man of my word. >> there's a scene in the movie where the joker has stolen millions of dollars and he just burns it all. because that's meaningless to him. he just wants to create chaos. >> all you care about is money. this town deserves a better class of criminal. i'm going to give it to them. >> heath ledger i think changed how villains are portrayed in superhero movies. he set the bar so high. it's a heartbreaking performance because it reminds you of what the next 50 years would have been like for that guy as an actor on screen. >> because they legitimized the superhero so much, there's so almost a ruinous effect no one

sees coming where studios are like great, this is it, this is the backbone of our box office strategy from now on. >> for your consideration, the jericho. >> when i was hired to do "iron man," i liked the idea that it was an older character, that it wasn't somebody who had an origin story of being an ordinary person and becoming superhuman. >> i'll be throwing one of these in with every purchase of 500 million or more. >> it was about someone successful in life, kind of unlikeable, who was having a crisis of conscience. and the big thing that made it all work was the casting of robert downey jr. >> what's going on here? >> i think without him we wouldn't be talking about that movie. >> let's face it, this is not the worst thing you've caught me doing. >> anybody who was a robert downey jr. fan, of which i had been from the very beginning, it was a no-brainer. you know, jon favreau is an exciting filmmaker. "iron man" was an exciting character.

everything lined up. they got it right. >> yeah! whoo! >> our collaboration along with everybody who worked on "iron man" created a template for the tone, the sensibility, and the way that the marvel universe could be reflected in an accurate way to what stan lee had come up with. >> the idea of so many superheroes in one movie, this has never been done before. >> "the avengers" had the biggest u.s. opening ever this weekend. the first movie to make more than $200 million in one weekend alone. >> outside of the actual world of comic books where they do their kind of world building, i don't know if there's ever been another cinematic experience that is as intricately written as the marvel universe. they've done a really good job of threading this through, how these guys have evolved, even with different directors and different writers.

♪ hello daddy, hello mom >> the new stardom is the brand. marvel is arguably the biggest star in the history of movies. and i would take that argument and say nothing comes close. no movie star has ever come close to being as big as marvel is in motion pictures today. (paul) sprint's holiday deals are so big, i need help spreading the word. (snowman paul) snowman paul here! hurry in and switch to save your family money on the samsung galaxy s10 for just $0 a month. (snowman paul) $0 a month! i was literally built for this. for people with hearing loss, visit sprintrelay.com coach saban convinced us. we are committing to aflac. why aflac? because health insurance doesn't always pay it all. aflac! after surgery we had extra bills followed up visits, deductibles. we thought health insurance had us covered up for everything, but it didn't. aflac gives you money directly to help you with those things.

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look at that. these people don't know what you're capable of. >> i had been a huge admirer of alejandro's stuff and "bird man" was as joyous an experience of making a film as i ever hope to have. >> i'm sorry if i'm popular, mike. >> i don't give a shit. popular? popularity is the slutty little cousin of prestige, my friend. i don't even know what the [ bleep ] that means. >> i don't know what was in the water around mexico city, but alejandro, alfonso, guillermo del toro that is a pack of talent that's unlike anything in modern film.

>> our creative process is a process we really share between each other. during the writing process, we keep on sharing our screenplays and being brutally honest with each other. then during shooting we're like support groups because we suffer so much that we need to talk to someone else who suffers more. >> these filmmakers don't come out of a void. they come out of a country with a rin cinematic tradition. so they bring a very special perspective which has evolved over a long tiered of time. >> [ speaking foreign language ]. >> "pan's labyrinth" took people by storm because if they weren't interested in horror they may not have known what guillermo del toro was doing. this is a movie that combines his fascination with horror and puts it with fairy tales. so it becomes a really accessible mainstream movie that also has these very dark

fantastical elements he's been working on for years. >> the universal monsters, of course, are cinema history and so much inspiration for what he does comes from those old movies. >> i can see the love of these monsters in his films and you can hear when he talks about it. i mean, you know, it's special. and "shape of water" is like clearly his creature from the black lagoon. >> guillermo del toro is an appreciator of the old school moviemaking. he never lost the 12-year-old geeky fan boy within himself and i think that's why audiences can relate to his work so much.

>> what you're seeing is the directors using established genres to do something that's actually very idiosyncratic and that you can make an intimate movie which is also a spectacle movie. alphonso caron is really great at doing that. he can make a movie on one hand like "gravity" which is incredibly spectacular, has to be seen on the big screen, but in reality is a very intimate, human movie. >> i know. we're all going to die. everybody knows that. but i'm going to die today. funny that you don't have to know, but the thing is that i'm still scared. i'm really scared. >> alfonso cuaron is a fascinating director because he's smart, gifted and does all kinds of films.

>> what was interesting about "children of men" is you had all these very small, very personal relationships in the middle of this dystopian future with something really human at stake in this idea of fertility and continuing the species. >> people found it almost immediately and recognized what a powerful work it was. and now when you talk about the best films of the 2000s, it's always in that conversation. >> she's pregnant. >> yeah, i know. it's a miracle, isn't it? >> with his long-time cinematographer emmanuel lubeski who's known as this kind of magician of the camera, he was able to do these things no one had done before. i was speaking the other day with someone who is an industry professional and he had said he and several other people he knew decided to become filmmakers when they saw the car scene in "children of men."

>> jesus! >> it was like doing a set piece. we were really driving the car. there were really fires on the hill. the camera would movie overhead. i think for us as actors it was exciting. >> the camera just manages to effortlessly flow to just where it needs to be. it's one of those scenes that leaves you saying how the hell did he do that? the storytelling comes first and the virtuosic camera work comes second but they just complement each other so beautifully. >> what cuaron and inarritu does

as well in "the revenant" is they understand film should be an experiential medium. that you can feel like you're in some kind of horrible survival story in the midst of very rugged wilderness. >> inarritu pulls on your heartstrings, pulls your heart out, and kicks you while you're down. you're gutted. you are gutted by his films but you can't look away. >> jesus christ. what happened? >> where is he? >> they are these emotional personal films that really i think energize film in general. >> alejandro g. inarritu, "revenant." >> tonight's big winners included director alejandro for "the revenant."

he won last year for "bird man." it's the first time a director has won back-to-back oscars in 66 years. >> alejandro inarritu, guillermo del toro and alfonso cuaron, these are the guys everybody's talking about, these are the movies that are exciting people and movie storytelling forward. they've won best director five out of six years running. which clearly means they're making a major impact on the american film industry. >> i am an immigrant. like alfonso and alejandro my compadres, like salma and many, many of you. and i think the greatest thing art does and our industry does is erase the lines in the sand. we should continue doing that when the world tells to us make them deeper.

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"12 years a slave" is this really sophisticated representation of slavery which had not always been the case. there is a very checkered history of the representation of slavery in cinema. and this film i think got it right. >> help me! help me! somebody help me! >> it was based on a true story of a free black man who gets kidnapped and put into slavery. and it made people sort of pay attention in a different kind of way. >> i ain't got no comfort in

this life. if i can't buy mercy from you, i'll beg it. >> it's not the easiest film to watch. as no steve mcqueen film is. he's such a great director, particularly in his ability to present it to you in this really cold reality. which i think ultimately is frightening but that speaks to how compelling a film steve mcqueen is able to create in terms of speaking to the horrors of slavery. >> it's rare that african-american history becomes the subject of mainstream cinema. so it's important not just for its performances and how well crafted it is, but is drawing our attention to black history. >> the president doesn't want to us march today. the courts don't want us to march. but we must march. we must stand up.

we must make a massive demonstration of our moral certainty. >> the reason i think ava duvernay's achievement in "selma" is so special and so powerful is she knew you could not tell dr. martin luther king jr.'s story in its entirety in a two-hour motion picture. you instead pick a moment in their lives that speaks to the kind of person they were. >> selma it is. >> "selma" does a really good job of not only humanizing martin luther king but representing the tension around the voting rights act that maybe gets missed when people say johnson signed the civil rights act and the voting rights act which is true but it was contentious. ♪ now you masters of war, you that build all of the guns ♪

>> black cinema actually goes in cycles. i think it's great that we're having this resurgency but it's not the first time i've seen it. at what point do we have to stop saying this is not a fluke. people want to see these stories? how many "fast and furious" movies, how many "straight out of comptons," when does it stop becoming a trend? that's the conversation that needs to shift. more importantly, it's the types of stories that are getting told. >> give me your hand. let your head rest in my hand. relax. i got you, i promise. i'm not going to let you go. hey, man, i got you. >> "moonlight" puts barry jenkins on the map as a major filmmaker. this follows this character chirone. we see him as a child, as a teenager and then as an adult, dealing with what it means to be black and gay in america.

and knowing how you have to operate in a world that still denigrates you. >> waiting for your ass. >> it is so intuitively intimate about the character. it says so much in the subtlest ways and the little moments that seem to be fleeting, but they become part of the baggage that you carry through your entire life. >> who gets to tell these stories? that's become important. there's a sense that you want women to tell women's stories, you want people of color to be able to tell their own stories. it literally is kind of changing the complexion of hollywood. >> hey. >> ryan coogler first gets

attention doing "fruitvale station," and it's about the police-involved shooting of a young black man in oakland. >> oh, my god. oh, my god. what did you do to him? did you [ bleep ] kill him? what did you do to him? >> as a resident of the bay area, he's able to bring a certain approach and a focus to these issues because it's local. but it's also universal. >> ryan coogler's amazing because you go from this intimate powerful story beautifully told. then he decided -- remember when the word was getting around that he wanted to do his own "rocky" movie. >> one step at a time, one punch at a time, one round at a time. one step at a time, one punch at a time, one round at a time. >> in taking on that story and writing it and directing it, ryan managed to honor the spirit of the "rocky" movies. it's filled with incredible virtue wosty and some of the best fight sequences that i've ever seen. >> there's a perfect right-hand shot by creed! >> yeah!

>> the leap this guy's made from the "fruitvale station" to "creed" and then he escalates it again with "black panther." >> whoo! let's go! >> what do you think this is, a funeral? >> it became very apparent that this film was going to be a game-changer. this appetite for this movie was huge. >> these characters, this film attracting a near frenzy around the country. >> we're excited because we get representation in a film that's not about slavery, that's not about trials and tribulations but about a powerful african empire. >> when you're so thirsty for this type of representation, when you finally get it, you glut on it. people wanted to see this movie over and over again. my uncle and my aunt, who i don't think have been to the movie theater in 20 years, were like we're going. >> wakanda forever! >> wakanda forever!

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quitting smoking is freaking hard.st, like quitting every monday hard. quitting feels so big. so, try making it smaller. and you'll be surprised at how easily starting small... ...can lead to something big. start stopping with nicorette i try to live my life on his tombstone we wrote, "let the work that i have done speak for me." you gotta take it seriously. i do, i take my job very, very seriously. you gotta be detailed. you can't miss a step. we sign off, so you can sign on.

hey, hey, come give us a hug before you go. >> hugs, come on. >> mom, hug her. that's what she's there for. >> at the time, to depict a same-sex couple with a normal, thriving family was considered -- was like shocking. >> i felt like i had a nugget of

something that i was really interested in. i believed in it. i didn't know really what it was. it was not formed. it was just a concept of these two women raising these kids who are becoming teenagers and now they could meet this sperm donor father, and what would happen if. >> i love you guys, and i love your mom. and that's the truth. sometimes you hurt the ones you love the most. i don't know why. >> what lisa did so beautifully and tenderly, was she brought something to popular culture that was wildly entertaining but really about how all marriages in all families are very much the same. >> you should just go to city college, you know, with your work ethic. just go to city college and then to jail and then back to city college, and then maybe you'd learn to pull yourself up and not expect everybody to -- >> in the name of the father, son, and the holy spirit. >> lady bird is the actress greta gerwig's feature debut. she wrote and directed it.

it stars saoirse ronan, and it's about a young woman coming of age in lovely sacramento. >> reading from the book of genesis. >> not to put too much pressure on lady gerwig, but she's the hope. she's been in ray of light for so long as an actress and a writer, so it's only natural now that she's directing her films. >> you are so infuriating. >> please stop yelling. >> i'm not yelling. >> oh, perfect. >> do you love it? >> she's a humanist, and her films are so funny. and they're cinematic. ♪ >> it's a very quintessential mother/daughter story but also feels very personal. how come there haven't been more movies like that? that's a really interesting time of life for a lot of girls, and it's been ignored. >> tom baker is a very

independent filmmaker. he first was on my radar screen for his movie "tangerine" which he shot entirely with an iphone. and it captured women in a trans community in los angeles. >> the world can be a cruel place. >> i want to tell universal stories. i want to tell stories with universal themes. as an audience member, i feel the most satisfied when a fill maker has taken me to a place i've never been to before. >> are you ready? >> "get out," the ultimate horror movie in my opinion. what is the greatest horror in this country? racism. so now you have "get out" and you have an interracial couple going to meet her parents for the first time. >> so how long has this been going on this -- this thang? how long? >> if you take the idea of 400

years of american racism, and this constant sense of the whiter culture stealing from you, of taking your food and your culture and your music, and you take that to its -- sort of the horror movie extreme, to literally inhabiting you and stealing your literal body -- >> now sink into the floor. >> wait, wait, wait. >> sink. >> i think "get out" is effective for me anyway because i had no idea what it was about. then what i realized what it was saying and it was scaring me while it was saying it, i thought it was the greatest directorial debut i had seen in several years. >> i told you not to go in that house.

>> finally we are seeing a little more diversity among the people who are making decisions about what movies to make and the people who are literally making the movies. they are telling their stories. they are telling stories that no one in hollywood could tell except for them. and the movies are going to be better for it. audiences are already understanding that. ♪ >> there is still something about being told a story. a movie is something that's been really handcrafted. it's a mosaic that's been carefully pieced together. it just creates this opportunity to totally lose yourself. it's a little bit like entering a dream. >> it's light and shadows thrown against a wall and bounced back at audiences that don't know

what they're about to receive. >> these images live in our consciousness, that stays in our minds. the way music is recalled in our heads, those images are replayed, and we live our lives by them. >> it brings all the elements of all of our senses together. they're really nothing else like it. >> even though you're doing something incredibly personal and in many ways incredibly selfish because you're doing something you love so much, and then it gets out there in the world, and it could change people's trajectories. >> when you can go somewhere that you can pretty much guarantee you're going to be able to set your worries aside for that period of time, it's like a drug. it's like a drug. >> it's just a direct conduit straight into your soul. >> i grew up wanting to be the movies. it was all about the movies. >> since the dawn of man, we like to get around a fireplace and commune in story together. so we can feel for a few hours

that we're human together. live from cnn world headquarters in atlanta, welcome to our viewers here in the u.s. and all around the world. i'm natalie allen, and "cnn newsroom" starts right now. ahead here this hour, the beginning of a historic week in washington. lawmakers will vote on whether to impeach u.s. president donald trump. also this hour, here's a quote. let's get this done. that's the u.s. envoy to north korea sending a blunt message over the stalled nuclear talks. also china's state tv censors a premier league match after one of the sport's top stars criticized beijing over the treatment of a muslim minority.