only movies can produce the truth of human drama and take you to a place that can't be seen in real life. ♪ ♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ [ sound of gunfire ] as far back as i can remember, i always wanted to be a gangster. >> "goodfellas" is like, fasten

your seatbelts, i'm going to kick the shit out of you for two hours, and you're going to love it. >> there have been so many gangster movies, so many mob movies. is it really possible that in 1990 martin scorsese will be able to make a gangster movie that has something to say that hasn't been said a million times? >> it's going to be a good summer. >> and you watch the movie and you're like, yeah. >> see you later, thanks. >> what are you doing? you're leaving your car? >> he watches the car for me. >> we were trying to capture the exuberance of that world. it's dangerous and threatening, but they're having a wonderful time. >> "goodfellas" was the nuts and bolts of the mob. it was the mob as a job. >> what do you do? >> i'm in construction. >> and the balance of these two families, of your mob family and

your real family, and the way that the two start to bleed into each other. >> here hide this. >> are you all right? >> yeah. >> "goodfellas" was based on a book called "wiseguys." i read it. i said, what if i play this guy, jimmie the chin? >> what did i tell you? what did i tell you? you don't buy anything, you hear me? don't buy anything. >> it's a true story. it is the nature of that lifestyle. >> just a little taste. >> you have to be clever enough, let alone have the audacity, the discretion. but ultimately not being afraid of the violence. >> hopefully what i just heard. >> this is for you. attaboy. >> the dangerous enjoyment of it. you can be enjoying it and suddenly somebody gets shot in the chest. >> what's the world coming to? [ sound of gunfire ]

>> then it's not funny. there is a price for everything you do. >> all right. you all know the drill. >> in the '90s, there's a host of movies in which people operate outside the system. we love the idea of the outlaw. it's one of the reasons we go to the movies. >> merry christmas. >> merry christmas to you, officer. >> you go to the movies to see people violate the mores and laws of society. >> i'm going to take one of those big envelopes and put as many 100s, 50s, and 20s as you can put into it. >> in the mid-'90s, we were rooting for criminals to get away with it. >> do you want a cigarette, nick? >> we wanted the bad guys to be the good guys. it was the era when the antihero was on the rise. >> you have something against ice cubes? >> i like rough edges. >> "in basic instinct" the character is a sociopath.

and sociopaths are as dangerous as that character is. when i played the part, i needed to understand the sociopathic mind. and that is a very scary thing. >> "silence of the lambs," i remember waiting for it with bated breath for it to come out. nothing prepared for how jongt i demen shot. >> good morning. >> dr. lecter, my name is clarice starling. may i speak with you? >> this is a film that is also an actors' piece. >> closer. >> told by the close-up master of all time. the tension, it just kept rising and rising. >> serial killers keep some sort of trophies of their victims. >> i didn't. >> no.

no, you ate yours. >> "silence of the lambs" is about this eerie dance between clarice starling and hannibal lecter. >> people will say we're in love. >> and manages to take elements of the horror movie and even the gothic iconography and put it into a real world thriller. >> you still wake up sometimes, don't you, wake up in the dark, and hear the scream of the lambs. >> yes. >> "silence of the lambs" becomes one of three films ever to win best picture, best actress, best director, best adapted screenplay, then anthony hopkins wins for best actor for playing hannibal lecter with maybe 16 minutes of screen time. >> how come dara let you go. >> because i didn't ask him >> shit, thelma. >> the thing i love about "thelma and louis" is it was a love story between two women.

it was one of the great buddy movies of all time. >> two friends decide to get away and things go off the rails really, really quickly. >> shut up! >> please, please don't hurt me! >> you let her go, you [ bleep ] hole or i'm going to splatter your ugly face all over this nice car. >> the idea hit me, two women go on a crime spree. >> good morning, ladies and gentlemen, this is a robbery. >> it wasn't just the idea. i kind of saw the whole movie in one flash. >> goddamn, you bitch! >> i don't think he's going to apologize. >> nah, i don't think so. [ sound of gunfire ] [ screaming ] >> it's an odyssey of two women on the last journey. they would not know it's the last journey, therefore the journey had to be magnificent. >> a lot of women looked at this

film and thought, i can relate to those women, i can relate to what they're going through, i can understand the choices they make. >> let's keep going. >> what do you mean? >> go! >> they looked at each other and they both knew. >> are you sure? >> it's kind of the culmination of both our lives and we have no choice. let's go. >> i can't imagine the movie would have had any power at all had we not ended it that way. >> i have no enemies here. >> no? wait a while. >> "shawshank redemption" is the perfect prison film. >> for good prison movie you need a warden whose corrupt. >> i wouldn't worry about this contract. >> you need some claustrophobia, you want the audience to feel like they're trapped.

and then there has to be hope. >> a little parole rejection present. >> the audience has to hope for something better for these characters that they fall for. >> it's a love between two men, spending 20, 30 years in prison, getting to know each other. >> the funny thing is, on the outside, i was an honest man, straight as an arrow. i had to come to prison to be a crook. >> ha! >> watching them rotate through this system. >> "shawshank redemption" is about seeking justice in an imperfect world. when the convicts win, you have a sense of relief and that somehow justice has been done. ♪ trying to make it real ♪ compare to what ♪ sock is it to me ♪ >> in vegas, everybody's got to watch everybody else.

>> "casino" was the story of the hubris of these two men, joe's character and bob's character. >> look at this place, it's made of money. you know what the best part is, nobody's going to know what we're doing. >> and poor sharon who is thrown in the middle. >> working for marty is a big thing. he was very open, supportive, encouraging, and so present with me. >> can i trust you? answer me. can i trust you? >> sharon stone is in the great tradition of crawford and the great divas. and i had to learn how to bring out what i needed through her. [ screaming ] >> with marty, because his films are so daring and the violence is so violent, and because everything that you do is so true, you have to be willing to kind of let your guts come out.

>> get outta here. >> fine. >> you're stoned. you're a junkie. get out of here. [ bleep ]. damn you. >> ultimately they're given paradise, and like adam and eve they're banished from paradise because they blew it.

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we have liftoff. >> "apollo 13" was a real turning point for me and an eye opener. i learned the power of a true story. >> this is houston. say again, please. >> houston, we have a problem. >> just believing in the story and not theatricalizing it. my mantra was, just show it. >> we're not going to have enough power left to get home. >> we know they're going to be saved. but the thing we care about is, how are they going to be saved? what do these people have to do to save them? that is what's riveting. >> the '90s brought us a new look at some previously thought to be well-known stories. >> when you look at the film "jfk," the movie is about what we can trust and who we can trust. >> why was kennedy killed? who benefitted? who has the power to cover it up? >> and oliver stone is saying, you can't trust anybody.

>> i'm jack berry. >> the nation was captivated by this game show, about the truth and the perversion of truth in the name of entertainment. >> you're young, clean cut from a prom then family. >> kids would run to do their homework to be like charles van doren. >> if you were a kid, would you want to be an annoying jewish guy with a side wall haircut? >> as i kid, i lived through that "quiz show" period. >> three points. >> i wanted john turturro to play herb stempel, a guy from a lower class area and rose to fame. people got tired of him because he wasn't so pleasant to look at. nobody could beat him because he was so sharp. that's when they came up with the idea, let's find someone that looks good and we'll give him the answers. >> i know his name np general hw

halak. >> you are our new champion for $20,000. >> and that cruelty was something i wanted to show. the power of money and personality. so to me, that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us, land right on top of us. >> "malcolm x" is epic. it really felt like the film that he was made to make. and i think he felt a certain urgency in making it. >> spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it's his best performance. >> denzel washington is one of the all-time greats. what he does in his artistry, painting a portrait of an individual, it's astounding. >> if the so-called negro in america was truly an american citizen, we wouldn't have a racial problem. if the emancipation proclamation was authentic, we wouldn't have a race problem.

>> watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. >> mr. becket, come in. >> when we made "philadelphia," he was malcolm x already. that was like starting a movie with marlon brando and just seeing "the godfather" the night before. >> what happened to your face? >> i have aids. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension with people with aids. >> how did they find out you have the aids? >> one of the partners noticed a lesion on my forehead. >> so as his character spends more time with tom hanks, we're starting to see him as more than his sexuality or his disease. >> let's get it out of the closet. because this case is not just about aids, is it? so let's talk about what this case is really all about.

the general public's hatred, our loathing, our fear of homosexuals. >> he can bring the audience on that journey to say we don't need to fear those people, we don't need to stigmatize them. >> my name is forrest gump. >> forrest gump. >> it's a very rare thing for me to read a script and not be able to put it down. >> "forrest gump" is a marvelous look at how history happens. >> forrest gump, john lennon. >> it's a delightful play on the contingency and accident that shapes our world. >> we were the first americans to visit the land of china in like a million years or something like that. somebody said world peace was in our hands. >> that film embodies everything

that makes tom great. he's fantastic dramatic actor. he's magnificent comedy actor. i can't think of another actor living or dead who could have ever done that part. >> by the 1990s, the median age of the people who served in world war ii was around 70. they were growing old and they were disappearing. and there was a powerful sense of nostalgia. and we saw a lot of retrospective looks at aspects of world war ii. this was the time when people started talking about the greatest generation. >> "saving private ryan" was a film i was going to make someday in my life. my dad used to have his band of brothers from the air corps come over to the house every year. the first time i ever heard grown men cry was at these reunions. it was all about the trauma they had suffered in world war ii.

>> i'll see you on the beach. >> i felt it was necessary for me to tell the experience of veterans and what they had gone through when they were a little bit older than i was at the time. [ sound of gunfire ] >> when moviegoers saw the men disembark, the bullets were going through the water and hitting them in the water. there was a powerful realism to that. it's spielberg saying, what does it feel like to have gone on that beach? your nose is pressed right into the savagery. >> in "private ryan," at the beginning, it was fantastic. i was ill for two weeks after that. i couldn't believe he did that. >> sir, i don't have a good feeling about this one.

>> when was the last time you felt good about anything? >> this ability to entertain and reach audiences more than one way, with the same movie, "saving private ryan" is a great example of that because it's exciting, it's thrilling, it's suspenseful. it's also a reminder of the price of that kind of warfare, the cost to the soul, and who winds up living and dying and bearing those scars in that kind of a conflict. >> what is that? >> of course. >> that's a nice sheen on it. >> thank you. >> very nice. >> i would get you one but the man who made it is probably dead, i don't know. >> my family, when i was growing up, talked about the holocaust, although they never used that word, they used to call it the great murders. i shot the whole film documentary style. it was the first film i had ever shot like that.

and it became less of a film, more of just a life journey, a living, learning experience making that film. we all felt we were shooting in a graveyard. and so the amount of reverence of the crew and the cast. i cast liam neeson at the last minute based on a play i saw him in on broadway. i thought he was the best possible schindler i could find. and he was. >> he saved my life. >> yes, he did. >> god bless you. >> oskar schindler was a deal maker and didn't really care that much for his workers. but there was an inevitable metamorphosis that unlocked his empathy.

instead of being just one who gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more. i could have got more. i don't know. >> the totality of the meaning of that film, the fact that it created awareness in the world of an era in history that had been forgotten, that it denied the deniers, it allowed us to mean it when we said never again. "schindler's list" was the greatest experience i had as a filmmaker. things happen. and sometimes you can find yourself heading in a new direction. but at fidelity, we help you prepare for the unexpected with retirement planning and advice for what you need today

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♪ "groundhog day" was a very character driven comedy. the bill murray character just keeps waking up. >> hey, phil? >> having to relive the same day. >> now, don't you tell me you don't remember me because i sure as heck fire remember you. >> not a chance. >> ned! >> usually when there's some kind of strange convention, it's explained.

>> phil connors, i thought that was you. >> you're in a time machine or somebody cast a spell. >> phil connors! >> but this just happened. and nobody minded. >> phil connors. >> ned? >> the movie is perfect. it's also so obviously for bill. >> bill, like the groundhog bill? >> yeah, like the groundhog bill. >> look for your shadow there, pal! >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> oh, thank you, young man. >> it's nothing, ma'am, just be comfortable, all right? >> to me, bill murray is one of the great comedy actors that has ever been. >> how long will you be staying with us? >> indefinitely. i'm being sued for divorce. >> he's picky, which is perfect, because then he finds his way into somebody really

extraordinary. >> what's the secret, max? >> the secret? >> yeah. you seem to have it pretty figured out. >> secret, i don't know. i think you've just got to find something you love to do and then do it for the rest of your life. >> wes anderson, his films are like opening a jewelry box and you can take out all the little trinkets and look at them, and they're sparkly and joyful. >> what's going on in here? >> it's so rare when someone comes along and creates their own esthetic, which is truly unique. ♪ >> i really related to "rushmore" in terms of having bad grades and not being good in school but having like a passion for something. >> all right, next scene. frank, you're with a bag of cocaine. >> when "rushmore" came out, i wrote a fan letter to wes. it was the perfect film, laugh out loud humor with an actual pathos.

>> i like your nurse's uniform. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shall we shag now or shall we shag later? >> it's going to be over the top and it's going to fill the frame. >> why don't you just go home? that's your home. are you too good for your home? answer me! >> and you're going to get adam sandler knocking out one movie after the next. >> sidney and scott are newlyweds. >> if you look at the scenes that are memorable from something like "wayne's world," that's big scenes. that's the heads bobbing back and forth. they're not afraid to do something big to get a laugh. and then all of a sudden, one day, this guy, who is as big as the screen, shows up. and it's jim carrey.

and he turned into a top hollywood star because he is unafraid to be big. even as he's doing these over the top things where you think, he's talking through his behind, i'm not going to watch this. >> excuse me, i would like to "ass" you a few questions. >> yet there you are, you're watching, and you're laughing. ♪ just like me they long to be >> oh, no. >> i don't have to be too intellectual about it, i just laugh my ass off. >> ow! >> part of it was, i can't believe they're doing that. >> what's that bubble there? >> what do you think? >> how in the hell did you -- >> the farrelly brothers pushed the rules so far. you can do that?

>> "something about mary" is this anarchic comedy that had heart to it. >> maybe you should move down here and marry me. >> i'll have the double decaf cappuccino. >> i'll have a half double decap half caf with a twist of lemon. >> you had lots and lots of really funny, bankable people doing wonderful movies. >> my first day as a woman, i'm getting hot flashes. >> hello, peter. what's happening? >> umm, i'm going to need you to go ahead and come in tomorrow. so if you could be here around nine, that would be great, okay? >> "office space" is not as acclaimed as it should be. it was not a big hit.

but there's so much modern comedy in that movie. it was wonderful. >> just a moment. >> "office space" did such a great job in completely lampooning office life. technology had made these cubicle lands, and "office space" really captured that. >> i might take that new chick from logistics. if things go well, i maybe showing her my "oh" face, you know what i'm talking about. >> jennifer aniston was in it and she worked at a place like tgif's. >> we need to talk about your flair. >> being a waitress who is like, put that flair on and show what you're really like. and she's like, here's my flair. >> there is my flair. >> this is my expressing myself, okay? ♪ teacher's pet, i want to be teacher's pet ♪

♪ i want to be cuddled and cuddled as close to you as i can get ♪ >> christopher guest is considered the master of the mockumentary. he comes up with characters that are profoundly silly. >> when we were on "snl" together. chris did a movie with marty and harry called synchronized swimming. >> i've been directing shakes peer in the park and just kill myself with the vegematic. >> that's where the character in "waiting for guffin" was born. me right out of in any event fresh off a destroyer. not really much to call my own. and then basically being slammed down for ten or so years, you know, off-off-off-broadway and then enough is enough, okay, i get the joke. >> chris surrounds himself with great, funny people.

eugene, fred willard, catherine o'hara. >> so nervous. >> you're going to be great. if there's an empty space, just say a line, that's what i like to do, even if it's from another show. >> chris works in miniature. he's very much like peter sellars, such fine taste. when it hits right it's amazing. >> that's the way it is. >> i just hate you and i hate your ass face. ♪ boom.

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♪ s ♪ i remember coming out of seeing "do the right thing" and that day i went to my dorm and started writing boyz in the hood. >> my mama say don't have no name on it. >> i ain't afraid to get shot. >> some of what i was doing was inspired by what truffaut did with "the 400 blows," what rob reiner did with "stand by me." but those movies didn't come from where i was standing from. >> we call a call of a burglary here. >> that was about an hour ago. >> whoa, we didn't ask you that. >> i decided to have a black cop be more than the white partner in the scenes where he's encountering the black residents. >> something wrong? >> something wrong? yeah. it's just too bad you don't know

what it is. >> the cop, encounters him years later when he's a teenager and profiles him. >> i didn't do nothing. >> you think you're tough. you think you're tough, huh? oh, you're scared now, huh? i like that. >> singleton was nominated for two academy awards, best original screenplay and the youngest person nominated for best director. >> it was an era when a lot of people were paying to black film. there's this famous moment when "the new york times magazine" does this cover story. you really had for the first time a large collection of black filmmakers documenting what was going on in the culture. >> you got to be ready to stand up and die for that shit like blizzard did if you want some juice. >> blizzard ain't sticking up for nothing now. >> that's because we wasn't

there to back him up. >> if we was there it would be five dead niggers i understand of one. >> he's a phenomenal actor. we had a similar vision of what we wanted to do as young men coming into this whole entertainment world together. my attitude was, i got my robert de niro, i got the dude i want to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. >> tupac, ice-t, ice cube. >> they were also storytellers. when it came time for them to go to hollywood, they were all convincing on screen. >> craig. craig. >> hold up. i gave him a heartbeat. >> man, that's what it's supposed to do. >> it's one of those films that made me excited about being in the film industry. >> cube at the time transitioning from music into filmmaking. the way it got sold at sundance.

it was just a sort of quintessential independent cinema coming to the mainstream and then of course it went on to do so well. >> ladies, ladies, i know you'll be in attendance. >> did you hear anything about a party today? >> uh-uh. >> at least not good ones. >> "house party" is just a fun, silly teen comedy. >> ladies. in the house. >> dragon breath. >> who you talking too? >> they play two teenagers looking to have a fun time. dad's away, let's throw a party. >> scandalous. >> having a movie like that premier at sundance really showed the possibilities that indie black filming making can have. >> what? >> don't answer me what. turn that tv off.

>> i don't care what it is, no tv on a school night. >> we talked about the spike lee films, but also it was a period when flack female filmmakers are making some really interesting things. you have "daughters of the dust," julie dash's film, examining black culture that harkens back several years. and that movie is beautiful. >> you have the movie directed by leslie harris. >> you're too cute to be a gentlemen, right? >> you don't have to be like that. >> whatever, whatever. >> it's a hood movie from the perspective of a young girl. people think of new black realism as the hood genre. but actually there's a range of socioeconomic experience being shown in black cinema of the '90s. whether we're talking about some of the black romantic comedies, familiar films like "soul food," or films like "waiting to exhale" or "how stella got her

groove back," what i think of as films that celebrate sisterhood. that's another element that hadn't made its way into mainstream cinema. >> hello. hello. >> from the early days of will smith's career, he was incredibly smart about figuring out how to become the superstar he wanted to become. he chose the one role nobody expected him to play, a gay hustler in "six degrees of separation." >> i pick a name you tell me anything about them. where they live, secrets, everything. >> and for every name, you get a piece of my clothes. >> will smith became a triple threat. there aren't many who can do action, drama, and comedy. >> now, back up. put the gun down. and give me a pack of tropical fruit bubbleicious. >> and will smith is that guy.

>> i would say that tom cruise is the first person to figure out the power of using the international box office to turn yourself into the biggest star that anyone has ever seen. will smith looked at that and said, that's what i'm going to do. that's what he did. >> movie that is did well. syfy aliens. >> welcome to earth. >> he becomes so successful that the july 4th weekend was blocked out for will smith movies. >> you know what the difference is between you and me? i make this look good. s best ne. the best network is even better. the best deals on the best network. how can everyone be the best? well, sprint's doing things differently. they're offering a 100% total satisfaction guarantee. while i think their network and savings are great, you don't just have to take my word for it. try it out, decide for yourself.

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>> this movie with him was

hysterical. i remember what scene are we doing? >> be funny. well done! well done! >> i'm sorry, i was in here yesterday. you wouldn't wait on me. you work on commission, right? >> yes. >> big mistake. huge. i have to go shopping now. >> "pretty woman" makes julia roberts a major star. that smile, that interaction with richard geer, that improvised little thing with the jewelry box and the pearls in it. >> we fall for her and we fall

like a ton of bricks. >> it's the bride. the woman we'll never live up to. >> "my best friend's wedding," "runaway bride" and "nottingham's hill." >> richard curtis said he wrote it with me in mind. i don't love when they say that. i don't know if it's true. it's hard to hold a roo real performance, the comedy and physical comedy. >> i'm just a girl standing in front of a boy. asking him to love her. >> romantic comedy is a genre that i love. i think i just was really lucky

that they were making a big resurgence at a time when i was at the ready. >> the romance of comedy gets its jump start and you have a number of people who are especially adept at the form of the romantic comedy. you have sandra bullock, you have hugh grant, you have meg ryan and you have tom hanks. >> she made everything beautiful. and it's just tough this time of year. the kid needs a mother. >> could it be that you need someone just as much as jonah does. >> yes. >> he prepared movies like no other director i ever worked with. we would work for weeks prior to the shooting. every line was profound or written or perfected. >> nora ephron was unafraid to

take something that felt familiar but then cover it in unfamiliar territory. >> you're going to have sex with her, huh? >> i certainly hope so. >> will she scratch up your back? >> what? >> in movies women are always scratching you the men's backs and screaming and stuff when they're having sex. >> how do you know this? >> jed's got cable. >> this movie was about a widower. you saw people on screen working out a problem who weren't necessarily from the traditional family. >> i left her by the telescopes. >> the great thing about nora is when she was talking about the dynamics between men and women who are attracted to eecach oth or searching for each other and don't really know it, she was a

genius. >> i'm the guy you don't usually see. i'm the one behind the scenes. i'm the sports agent. >> i wanted to write a movie that begins where an 80s movie ended. >> what's going on? >> they fired jerry maguire. they did it at cronin's. >> the script went right to tom cruz. he called immediately. i love the script. i'll read it with you. you tell me if i'm right for it. >> don't worry. i'm not going to do what you all think i'm going to do, which is flip out. >> and basically i've been geeking out over his performance ever since. >> rod, rod, jerry maguire. how you doing? >> jerry maguire. how am i doing? i'll tell you how i'm doing. i'm swaeating, dude. >> they were like dleelirious

actors. that scene kind of exploded. >> congratulations, you're still my agent. >> that film really spoke to me so deeply because it's a single mom with this precocious little kit. >> jerry, did you know the human head weighs eight pounds? bringing a guy into this picture. i love how much cameron believes in romance. >> i was so anxious to do one line, "you complete me." there were times that i read that in the script and thought fantastic. there were other times is this too cheesy? and i told tom that and he said just give me a shot at it. if you don't want to use it, don't use it. >> i love you. you complete me.

and i just -- >> just shut up. just shut up. you had me at hello. you had me at hello. >> i look around, everybody's crying. the grizzlied guys holding cable are like -- and i was like i think it's going to work. >> that casino. they're going to clear every one of us out. today their luck is going to run out.

>> this guy is going through all the eggs. >> what's he looking for? >> he said he had to find the perfect dozen. every egg has to be perfect. >> in the 90s you could feel there was something happening here. there started to become a genuine independent film movement. and film dance sun institute had g to do with. >> the idea of starting sundance was i felt i'd grown up being part of the major film history because that's all there was. i was very fortunate to be part of that. as time went on, i became more aware of other stories that could be towld. they'd be told by people that were less inclined to be

commercially attractive. they were different. they were off beat. >> women are lonely in the 90s. it's our new phase. they'll live. >> they weren't looking at who made the movies. they looking at the movies. they had a commitment to showing film was with very specific, authentic vouices. there was a sudden recognition because of the success of films that came out of that festival. a drove such a profound change into mainland hollywood. >> say, man, you got a joint? >> not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," dazed and confused was this complete euphoric look at young people before they have to become adults. >> there's other high school

movies. there's a million of them. but there's very few that give you an honest depiction of that time in your life. >> you already ready to bust some ass? >> and then you see all these other actors in "dazed and confused." >> that's what i like about these high school girls, i get older, they stay the same age. >> he cast all those fabulous girls. those characters i adored. they just felt like real girls to me. let me tell you this, the older you do get, the more rules they're going to try to get you to follow. you just have to keep living, man, livin'. >> the beauty is his touch. it's lightning in a bottle. >> everybody cough up some green for the little lady. come on, throw in a buck.

>> i don't tip. >> you don't tip? >> no, i don't believe in it. >> you don't believe in tipping? >> i was banging around and trying to be a writer and a filmmaker and i read reservoir dogs and i thought it was clearly written by somebody who was 67 years old and gotten out of jail and wrote his life story. >> harvey keitel is the guy who pushed it through to us and allowed us to discover quinton ta tarantino. >> if it's no big deal to be mr. pink, you want to trade? >> nobody's trading with anybody. this isn't a [ bleep ] city counsel meeting, you know? >> it was prevalent in our country. for me that was kind of a break thereto through mome breakthrough moment. >> is it bad? >> as opposed to good?

>> here brutal violence comes with a heavy, at times, dose of come comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him, vincent. >> royale with cheese. >> you know why they call it that? >> because of the metric system? >> check out the big brain on brad. >> "pulp fiction" was this screen play and it was the screen play itself that was this wild, harry bug. it was like a tarantula on the doorstep. >> that's an impossibility. tri trying to forget anything as intriguing this would be an exercise in future tilility. >> it was slick, it was fast. it had no convention to it

whatsoever. it rewrote the rules of the way you can make film. >> you constantly have to pay attention. you have all these characters who are somehow connected and you start to figure it out as the movie goes on. >> i love you, pumpkin. >> i love you, honey bunny. >> everybody, this is a robbery! >> you know a tarantino film the moment you see it. it's such a fanfare of a new filmmaker. ♪ ♪ >> swingers came out of this kind of cocktail 50s nostalgic culture in l.a. that people who made the movie were part of and it kind of became a phenomenon. >> so what do you guys do? >> well, i'm a comedian. >> when i started writing "swingers," i didn't know that it was going to be a movie or a full script, i just had fun writing stuff that i got a kick

out of and i kept going with it. >> i don't want you to be the guy in the pg-13 movie that makes it happen. i want you to be like the guy in the rated r movie, the guy you're not sure you like yet, where he's coming from. you're a bad man, you're a bad man. bad man. >> it was sort of that indy comedy sensibility. and of course we were influenced like kevin smith and tarantino and scorsese. when the movie finally came out, it hit the culture in the big way. >> you see, baby, it's not that hard. >> 310. >> nice. while some 5g signals go only blocks, t-mobile 5g goes miles... beyond the big cities to the small towns... to the people. now, millions of americans can have access to 5g on t-mobile.

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animation was disney's brand but in the early 80s, they were really adrift and "little mermaid" showed what these movies could do. ♪ >> and that kicked off a total revolution in the animation world. >> and now we advise you to relax, let us pull up a chair as the dining room proudly presents your dinner. >> when audiences see these movies, they haven't seen animation like this in decades. ♪ we are big on flombay >> disney studio reexamines the

templates of "snow white" "pinocchio," dumbo," "bambi" and returns disney animation to its fu fundmentals. >> 10,000 years will give you such a crick in the neck. >> because they're done with cleverness and great use of music, which disney specialized in, they captured the same magic. >> "the lion king" is interesting because it's a very old tale that is told in different ways but it emerged at something special and became bigger than the sum of its parts. ♪ it means no worries for the rest of your days ♪

>> it just clicked with the right animators, the right director, the right music. ♪ ♪ >> people were ready for that kind of story, that kind of epic scale. and then you can see the beginnings of c.g. in the background for certain things like the stampede. it's one of those things where if the stars align and it hits the culture in a way that's impactful. >> pixar changed the game. i remember going to see "toy story" and i saw it twice. the comedy wasn't talking down to kids. it was for everybody's. >> we're all very impressed with andy's new toy. >> toy?

>> t-o-y, toy. >> the word i think you're searching for is power ranger. >> the word i'm searching for is toy. >> the technology for me was nice and interesting but that wasn't what blew me away. what blew me away was here were new characters. >> to infinity and beyond! >> the film was contemporary. it was not a musical. and it was done with all of the sincerity of the walt era. >> you actually think you're the buzz lightyear? ohhing all this time i thought it was an act. hey, guys, look, it's the real buzz lightyear. >> you're mocking me, aren't you? >> anybody wanting to study screen writing should watch pixar movies. they're beautifully written.

>> let he guess, andy's a real special kid, you're his buddy, bess friend. and when andy plays with you, even though you're not moving, you feel like you're alive because that's how he sees you. >> you absolutely believe these characters had an internal life. they felt like being a toy was a job that they were proud of. that was just a brilliant premise. and it was executed perfectly ♪ oh somewhere deep inside of these bones an emptiness began to grow ♪ >> there's something that's so beautiful about bringing an inanimate object to life. drawing an animation is the same kind of thing but there's something about stop motion, this is so pure and strong. ♪ what's this, what's this, wake

up, jack, this isn't fair ♪ >> tim burton managed to take the most ma cab things and make them beautiful. you don't have to wonder for ten seconds if it's a tim burton film. >> i have a present for you. >> "edward scissorhand" is kind of a frankenstein movie. he a father who creates a boy but dies before he can put his hands on. >> edward scissor hands, i've seen tim draw a character with two strokes of a brush and you knew who they were. >> look! >> i'll be darned. >> with tim and his characters, there's always a real connection with him and johnny depp.

>> there's a kind of a way of speaking without speaking and communicating, which is why he was edward scissor hands and it goes back to silent movies where people communicate with your eyes. i feel some connection to him. there's something about the intensity and gaze that's like -- well, it's like film, acting. >> so are we going to be working together? really? worst film you ever saw? well, my next one will be better. hello? >> it's such a sweet movie and yet it's not at all clawing, it's completely cool and crazy. >> he's a monster. do you imagine what that guy would look like in a movie? >> he plays ed wood, the worst director of all time. >> you just love him for his

enthusiasm. >> mr. wood, where's the conference center? >> you're standing in it. >> places. ed wood when he was making the movie thought he was making "star wars". >> "ed wood" was lovingly made in preesh arappreciation of whay had done. it's that warm sense of family, felt very close to me, felt like my own life, a bunch of weirdos who want to make a movie. >> this is the one i'll be remembered for. ♪ country roads, take me home there's a booking for every resolution. book yours at any price, at booking.com

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go! go home! bad wolf! >> you think of actors in the director's chairs in the 90s, you think of kevin costner, jody foster, mel gibson and you think of clint eastwood, who finally gets his due in the 90s.

"unforgiven" is a miraculous film in many ways. it's landed on this moment of frailty. >> did pa used to kill? >> my agent called and said clint eastwood has made an offer. clint eastwood? yes. you'll be his partner in this western. well, shucks, tell him i'll think about it. >> i remember there was three men you shot, will, not two. >> i ain't like that no more, ned. i ain't no crazy killin' fool. >> clint eastwood and morgan freeman who have been professional killers and they're sick of violence, they don't want to do it anymore but they've been dragged back into it. >> i've killed one of my children, killed just about everything that walks and called at one time or another and i'm here to kill you, little bill,

for what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick, he's decisive. it's beautiful. >> there were director in this period, like michael mann, who are the rebels within the studio system, the guys who are just doing it differently. >> what am i doing? i'm talking to an empty tell n telephone. >> i don't understand. >> because there's a dead man on the end of this one. >> he gives us an unity to see robert de niro and al pacino doing a scene together. >> what do you say i buy you a cup of coffee? >> the scene in the diner, we knew it was the nexus to the whole film. >> i chase down some crews, guys looking up, getting busted back

at you. >> you must have worked some di di di dip-shit crews. >> we have all kinds. >> you do what you do best, trying to stop guys like me. >> they're not taking their eyes off each other. it's almost reflexive. >> i will not hesitate, not for a second. >> people want to see great ooktors teook actors tell you the truth. they would make a movie that would punch you in the gut but it would have truth in it. >> you want your own wife kidnapped? >> yeah. >> i think "fargo" is a perfect movie in every way. the screen play is perfect, the execution of it is perfect, the performances are absolutely perfect. >> it was written for me. i got very excited.

they said joel came home from work and said we started working on something, there's a part for you. >> we got a shooting, these folks drive by, there's a high-speed pursuit, ends here and then this execution-type deal. >> his scripts are publishable works of literature. for example, the scene in "fargo" where marge is interrogating the to two strippers. >> they said they were going to the twin cities. is that useful to you? >> you betcha, y ah. >> it was punctuated. >> fargo is the film that really gets embraced at the academy awards. everyone loves this movie. so what do they do?

they do something completely different. >> sometimes there's a man, he's the man for his time and place. >> "the big lebowski." one of my favorite stories is how long it took jeff bridges to agree to do it. he sent it to him, said it's great. >> not sure i can do this. >> i just remember them thinking how could he not? and obviously he came to that conclusion himself. >> wait, let me explain something to you. i am not mr. lebowski. you're mr. lebowski. i'm the dude. that's what you call me. that or his dudeness or el dudeorino. >> it's the only time i haven't been able to look an actor in the eye because he was so funny.

>> jeffrey, love me. >> that's my robe. >> big lebowski was the fillle of my generation. >> that rug really tied the room together, did it not is this. >> they're revolution bomb throwers but you're kind of pleased that the bomb landed on your front porch. >> they kept control of their films from the beginning in a way that allowed them to really explore any genre that they wanted to go into. i think by exploring the genre, then they subverted it. >> where i grew up was the porno capital of the world in san fernando valley. i would know what the difference was when it was like a van. that's where "boogie nights" came from, a world that i knew

really, really well, funny enough. >> who is dirk digler? >> that's the new, good-looking kid, eddie at the club. >> good name. >> when i got paul's script for "boogie nights," i said are you punking me? that's rated x. he said, no, that's rated r. >> i said there's copulating in it. >> he said that the way it is. >> i said i'm in. >> she probably would have died. i don't know if i would have survived all that. >> i'll ask you, are you my mom and then you say yes. are you my mom? >> yes, baby. she kind of assumes the mantle of parenting in this world. she's play acting. >> we're talking about coming to an agreement on the custody of andrea. >> yes.

>> the thing i really love about the scene as she's fighting for custody, the judge turns to her and says have you ever been arrested? >> when was the last time you were arrested and what was the charge? >> you cut to outside and amber sobbing. that's just it. she's somebody who is not responsible enough to parent. >> you don't have to be interested in pornography to be interested in broken people that have been rejected by their family, they don't have a family, the moral center of the movie is about all these broken humans trying to make themselves whole by finding a stitch-together family when they don't have an actual familiy of their own. >> paul thomas anderson has never made the same movie twice. whenever you see a paul thomas anderson movie, you know it's a paw thomas anderson movie. his imprint is on his films.

>> come on, frank. what are you doing? >> what am i doing? >> yeah. >> i'm quietly judging you. so the whole world looks different. the unbeatable strength and speed of advil liqui-gels. what pain?

"the piano" was ravishing and uncompromising. you feel the weight of the fabric, the dampness of the air and the moss. . and it's so inherently jane. >> jane is a filmmaker from new zealand who shot this very intimate movie in her home country starring holly hunter, harvey kitel and a very young harvey packman. >> jane pulled us into it as an audience. she has a voice not to be denied. >> it's my mother's piano. >> it's an extraordinary performance in a film and also holly is a very accomplished pianist. it's one of those perfect roles for the perfect actor.

>> this movie established jane campian. she won at cannes and became the second woman to be nominated for an oscar for directing. >> the 90s was the best time for women directors. they infused a kind of sensibility that made it really enjoyable. you were hanging out with other filmmakers saying, wow, how many movies can i make? how many women can i work with? >> you still haven't figured out what riding waves is all about, have you? it's a state of mind. >> they don't want to be acknowledged as a female director. i thought my whole career to be acknowledged as a filmmaker, not a black filmmaker. i'm sure a lot of those women are saying don't call me a female director. i'm a director. >> i'm a bad therapist. do you hear me? i'm a bad therapist.

i am making these people worse. >> walking and talking was inspired by the time my best friend was getting married. it's so fake looking. it looks look a barbie ring, frank. >> they were a perfect match. they felt very lonely. >> it's perfect. frank gave it to me. we're engaged. we're going to get married. >> well. >> i think of her comedies as comedies of embarrassment. her characters want to be better people but they're just not. >> are you crazy? i had sex with you two weeks ago and now you're asking me why i haven't rented lately? >> oh, i didn't know what to say. >> i just don't know anyone who is better at setting you that kind of situation that makes us all squirm because they're so human. >> i don't know why deion is going out with a high school boy. i like dogs. you have to clean them and feed

them and they're just like these nervous creatures that scrum and slobber all over you. >> ew, get off of me! oh, as if! >> when i was writing "clueless," i hung around beverly hills high school a lot. a teacher there taught debate and he let me hang out in his class. so you heard the vernacular. >> in conclusion may i remind you, it does not say rsvp on the statue of liberty. >> amy heckerling is giving these girls their own vocabulary. >> hello, it was his 50th birthday. whatever! >> oh, my god, i'm totally buggin. >> they're changing the lexicon of teen girls all over the world. >> do you have any idea what you're talking about? >> no. why? do i sound like i do? >> even though cher is this heightened, fantastic, perfect aspirational creation, she's able to see her as a real girl,

doesn't turn her into a punch line. >> can i see the beginning again, folks. >> in "a league of their own," penny marshal looks at the changing role of women in world war ii. the men were fighting on the battlefields but there was still a hunger for professional baseball. "a league of their own" is about women baseball players. >> it's iconic and the lines are iconic and the performances are ic iconic. >> i told them it was their patriot duty to get out of the kitchen and come to work. now when the men come back, we'll send them back to the kitchen. >> what should we do, send the men returning from war back to the kitchen. >> "a league of their own" was a movie about female empowerment, how powerful women are when they unite and how many stories we still have to tell. >> she's under it.

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i love the original "terminator" but the sequel blew it out of the water as far as i was concerned. that chase in the l.a. river with that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it ok's okay, mom. he's here to help. >> it's got heady ideas about time travel and space/time continuum. but it's also a story about being relentless. and jim as a filmmaker is relentless. >> when james cameron got to t-2, he was interested in expanding his palate, particularly to include these

new digital tools. it was wildly ground breaking cameron was working with industrial light and magic, and they were really kind of inventing this process of cgi as they went. >> when you first heard that steven spielberg would be making a movie about a place where dinosaurs were brought back to life, your first response would be i can't wait to see that. >> where's the goat? >> amazing just how long it takes before the t-rex come out. he makes you wait for it and wait for it and wait for it.

i don't know what a dinosaur really looks like in real life. i think it looks like jurassic park. >> boy, i had been right all the time. >> what steven spielberg innate li innately understands is that dinosaurs are awesome. >> and it was the same feeling that i had as a 7-year-old watching "jaws" for the first time. when you see the brontsauerus reach up and eat the leaves off the tree. >> we're going to make a fortune with this place. >> that's what spielberg does as a filmmaker, he makes you go,

oh! >> a lot of the filmmaking in jurassic park showed what you cgi could do for their storytelling. >> "titanic" is a throwback to the big blackbusters of the 50s and 60s, not only in its 50s and 60s but it was talked about in the way we talked about cleopat cleopatra. oh, god, we put everything we have into this tire boat and is it going to sink? >> the budget was $200 million. >> leo dicaprio had done "what's eating gilbert grape" and there was nervousness on the part of studio executives, can he do this thing? >> the studio thought they were in terrible, terrible trouble. it was going to be an enormous disaster and it turned out to be the biggest movie of all time. >> i'm the king of the world!

whoo! >> "titanic" really had everything. it was an epic, old-fashioned movie. an action movie. it also had a love story at the heart of it. >> i'm jack dawson. >> rose. >> don't forget to write that one down. >> it was irresistible, jack and rose. it was sexy. leo was absolutely gorgeous. kate winslet captured that independent woman who would not be tied down. >> we're flying, jack. >> "titanic" is this moment when james cameron is straddling these two worlds, the human scale and the computer school and from that point in 1997, the

world goes computer. >> you have to let it all go, neal, fear, doubt and disbelief. free your mind. >> the matrix changes everything. you have the embrace of eastern cinema into western cannon. and you've got them making their actors do the stunts themselves. keanu reeves had already done "point break, had already done "speed," but this is a different level of action star that he's transforming into. this was six months of training every actor had to go through. and one of the things that you get when you're having the actors do their own stunts, you can film close-ups of the face while a punch is being taken,

while a punch is being thrown. the action itself becomes story >> as cgi gets better, we become a little bit more sophisticated in our tastes when we see computer-generated effects because each year they get so much more realistic and life-like. >> how? >> he is the one.

>> i want to tell you my secret now. >> okay. >> i see dead people. >> i remember in '99, everyone i knew, everyone in our crowd was working on something that felt exciting and felt like it had a generational voice in it. >> i'm scared to close my eyes. i'm scared to open them. >> it was very clear that something was in the water that year. ♪ here i come to save the day >> it felt like the final exam for the 20th century. it's like the bell's about to ring and everybody's trying to get their good thing in before the century ends.

you have this really interesting combination of young film makers swinging for the fences and s w showing people who they could do, as well as -- >> i have to put my family's welfare on the line. and what are you putting up? words. >> while you've been dicking around, i've been out there giving my word and backing it up with action. >> i'd stack '99 up against any year in american film making in terms of a great cohort dropping significant work. >> hey, mr. mcallister. >> not wasting any time, are you, tracy? >> you know what they say about the early bird. >> yeah, i do. >> "election" is the second movie of alexander payne. it's about this high school student council election in omaha. reese witherspoon's tracy public is someone you want to root for because of her passion and drive.

also, she has a little bit too much ambition. >> they know this country was built by people just like me who work very hard and don't have everything handed to them on a silver spoon. >> what's brilliant about "election" is you are getting voiceover from like three or four different perspectives. >> who knew how high she would climb in life, how many people would suffer because of her? i had to stop her. >> alexander payne made a very american movie, and the performances in "election" of matthew broderick and reese witherspoon are terrific. >> looks like you could use a cupcake. >> it's a remarkable film. >> who are you? >> "boys don't cry" is based on a true story about brandon tina, a young man who was a trans man living in a small community. he fell in love with a woman. they had a relationship, and other people discovered that this was a trans man and not a sis man and sexually assaulted

and murdered him. >> "boys don't cry" is a phenomenal movie. no studio would have made that movie. it was a game-changer in terms of american cinema in terms of what was made before and what was made afterwards. >> 1999 was a great year in independent cinema. you look at that lineup of films from "virgin suicides" to "three kings" to "being john malkovich." >> you see the world through john malkovich's eyes and after 15 minutes, you're spit out into a ditch on the side of the new jersey turnpike. >> "being john malkovich" is a great combination, spike jones and charlie cakaufman. they kind of remind people that movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a met afictional dive

into literally the brain of john malkovich, who is in the movie playing himself. >> malkovich, malkovich. ♪ malkovich >> it's one of those movies that's impossible to describe. it just sounds like you're piling one absurdity upon another, but it somehow all coheres into a crazy and beautiful film. >> i want you to do me a favor. >> yeah, sure. >> i want you to hit me as hard as you can. >> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. >> "fight club" was hard to imagine anybody who had a better dna than him for that film. >> the first rule of fight club is you do not talk about fight club. second rule of fight club is you

do not talk about fight club. >> we were doing the kind of film we'd all hoped to do. >> trust me. everything's going to be fine. >> i thought "fight club" could be one of those things that becomes a marker for the way we felt at a certain time. it connected right where we wanted it to connect, and it's still growing, and that's exciting. for me, that's the highest aspiration. ♪ >> in the '90s, you get these trends and these moments that are going to carry on for the next few decades. you have this moment of really promising black filmmakers who are coming up. you have women's voices, you know, coming more to the forefront in that they're writing films and in cases directing films. you're also getting sort of big blockbuster as hollywood will always have. it sort of lays the groundwork

for what we're going to see for the next 20 years. >> you want answers? >> i think i'm entitled. >> you want answers? >> i want the truth. >> you can't handle the truth. ♪ ♪