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. ♪ ♪

♪ ♪ ♪

with "gladiator," the producer came into my office and 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 he's standing over a slave, who is about to get killed. he's looking up for permission at a guy who is clearly nero, who is doing that, in other words, kill him. and i said, i'll do it. he said, you haven't read the script. i said, i think we can get this right. let's do it. >> are you not entertained? are you not entertained? is this not why you are here? >> i must have had half a dozen phone calls with ridley about

russell. thought that he was a really raw talent who was, i think, just discovering the power he had. >> slave, you will 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 armies of the north, loyal servant to the true emperor, marcus aurelius, father to a murdered son, husband to a murdered wife. and i will have my vengeance in this life or the next. >> he's a character actor, and that's what he loves is to fully create a character. >> i'm not a soldier. >> worthless, discarded. >> there's no mission.

>> then while you rock and drool, the world will burn to ashes. >> you are not real. you are not real. >> you're still talking to me, soldier. there's no mission. >> 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. >>ers that two things that aggravate me, mr. masrey. 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. but when you've spent the past six years raising babies, it's real hard to find someone to give you a job. are you getting this down honey, or am i talking too fast for you? >> aarerin brockovich is about woman gathering up for a class

action lawsuit. >> you got to promise me that we're going to get them. >> to get to be in the orbit of stephen soederberg and just 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 eckhardt and albert finney. >> you're erratic. you say any goddamn thing that comes into your head. you make this personal, and it isn't. >> not personal? that is my work, my sweat, my time away from my kids. if that's not personal, i don't know what is. >> it's a complex, layered performance. it's a thoughtful performance. it's a purposeful performance. you 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. >> i love it up here. >> stephen soderberg and george clooney sent me the script for "ocean's eleven" that came with a $20 a bill and said, we hear you get 20 a picture, so 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'd 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 on-screen. >> what, did you guys get a group rate or something?

>> stars become, for a while, the most dependable element in movies, which is why their salaries go up, and it also changes the whole context of movies because the power balance in movies changes. >> i'm fine. i'm cool. i'm good. >> 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. i have made fire. >> by changing the balance, it changes the kind of movies we get, ones that ultimately centralize the star. ♪ >> today's a training day, officer hoyt. i'll show you around, give you a taste of the business. i've got 38 cases pending trial, 63 in active investigation. i supervise five officers.

that's five different personalities, five sets of problems. you can 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. >> 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 room full of cops said you didn't. >> but i didn't. >> you did. >> every scene i did with him from that first day was the reason i want to make movies. i was just so into watching these two guys' performance that i forgot to yell cut sometimes, and they would keep going. >> player to player, pimp to pimp, i'm letting you shoot me, nigger. >> don't do it. don't do it.

>> i donthere was a scene where got in a fight, and denzel put the cigarette down. he picked it back up, and i was about to yell cut because the scene was over, and he kept going. he lit it, and i saw it in his eyes. it was a long lens, and i could see something happening. he was just on fire, man. >> i'm the man up in this space. you'll never see the light of [ bleep ]. who do you think you're dealing with? i'm the police. i run shit here. you just live here. ya yeah, that's right. you better walk away. go ahead and walk away because i'm going to burn this mother [ bleep ] down. king kong ain't got shit on me. >> denzel is a gift to us. watching him in the movies 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 me. what do they do? they give it to him the same night. >> the 2002 academy awards is

important because you have denzel washington winning best actor, halle berry winning for monster's ball, and also sidney poitier getting a lifetime achievement award. >> in the first 73 years 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. ♪ (children laugh and scream) (dog barking) ♪music it's the final days of the wish list sales event. hurry in to your lincoln dealer today

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an entire generation of cinderellas and there's no slipper coming. >> looking 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 crow. he wrote it. 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. ♪ where i'll end up i think only god really knows ♪

? >> there are two scenes. there's penny lane dancing on the floor of the empty arena. that felt like the soul of the movie. also the scene where they're on the bus singing "tiny dancer" as a way of kind of bringing the band back together. ♪ hold me closer tiny dancer >> i have to go home. ♪ count the headlights on the highway ♪ >> 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 and jaunted boy ♪ >> baz luhrmann's "mulan rouge" awesome. everything about that movie is awesome. >> at the time when moulan rouge came out, nobody wanted to make musicals. it was such a trailblazer as how musicals were shot and also the type of music that was used in it. ♪ >> every song in moulin rouge, it wasn't like i got my favorite record collection together and went, here's a catalog of songs, let's find a narrative. ♪ the french are glad >> the musical numbers are that particularly difficult craft of not being a poem, which is most

pop music is, but actually they're linear. they're telling story. ♪ 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. ♪ roxanne >> 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 again. >> five, six, seven, eight.

♪ >> when "chicago" originally opened in the 70s, people thought that bob fosse's vision of the world was too dark and cynical. but by the dawn of the 21st century, he was right on it. ♪ shake apart and want a brand-new start to do that jazz ♪ >> let's go, baby. >> "chicago" was thought to be unfilmable. people had been trying to make an adaptation for years. and what rob marshall was able to do to make the musical numbers in roxy's mind was brilliant. ♪ he had it comin', he had it comin' ♪ ♪ he only had himself to blame ♪ if you'd have been there, if you'd have seen it ♪ ♪ i bet you would have done the same ♪ >> i'm a firm believer that the time is always right for a great

musical. ♪ and you, and you, and you are gonna love me ♪ >> when you see things like that working in the marketplace. ♪ you are the dancing queen >> 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 three to 80. no one's left out. >> i'm telling you, big daddy, you're going to be seeing this face on tv a lot more often. >> like on most wanted? >> you've been jealous of my

good looks since the fourth grade, pal. >> have a good day, sweetie. >> you too, hon. >> i'm the dope who turned down "toy story," so when pixar called about the next film, i went, i'll do it. i could hear the laughter on the other side. >> hey, thanks a lot. i'll be here all week. remember, tip your waitresses. >> pixar films are exceptionally sophisticated in terms of visuals, in terms of humor, in terms of characterization. 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 it was considered a risky thing. it's an action film but people

assume because he's animated, it's a certain kind of film. that tells me the media 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 what's heroic being slammed up against each other. >> which exit do i take? >> traction avenue. >> that will take me downtown. i take 7, don't i? >> don't take 7! >> 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 then goes somewhere incredibly sad. >> the capturing of that relationship from, you know, 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 was 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. ♪ iabetes are excited about the potential of once-weekly ozempic®. in a study with ozempic®, a majority of adults lowered their blood sugar and reached an a1c of less than 7 and maintained it. oh! under 7? (announcer) and you may lose weight. in the same one-year study, adults lost on average up to 12 pounds. oh! up to 12 pounds? (announcer) a two-year study showed that ozempic® does not increase the risk of major cardiovascular events like heart attack, stroke, or death. oh! no increased risk? (announcer) ozempic® should not be the first medicine for treating diabetes, or for people with type 1 diabetes or diabetic ketoacidosis. do not share needles or pens. don't reuse needles.

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anyone ever call you, "meat santa"? no, that's... weird. happy holidays. enjoy. next customer? male anchor: ...an update on the cat who captured our hearts. female anchor: how often should you clean your fridge? stay tuned to find out. male anchor: beats the odds at the box office to become a rare non-franchise hit. you can give help and hope to those in need.

do you live here? >> look, mister. i'm going to dial 911, and you are not going to move. zoey, hand me the phone. >> no, you don't understand. i'm a friend of your daughter's. >> yeah, i don't think so. my daughter is in the city, and you like wandered in here high on ecstasy? >> honestly, if you just -- >> stay there. i was in the israeli army. i can break you in half. >> nancy meyers invented a kind 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 that 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. >> ahh! >> you have traditionally masculine males who actually listen to and learn from their female counterparts. >> no, see? too much. >> okay. good note. >> that's an irresistible message to the female audience. >> 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. >> eww, please let that be the end of your speech. >> what is going on here? why isn't anybody ready? the photographer's here. >> the genesis of "my big fat greek wedding" is that i grew up so surrounded by love and

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 out of this. >> here, eat some rice. >> i'm good. i'm good. >> i could snap you like a chicken. >> i thought we would be shown in greek church basements, and then i couldn't believe we got released in theaters. >> everyone, this is ian. >> ian! >> 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. >> opa! >> it was the top grossing romantic comedy and independent film of all time. >> oh, you're so beautiful. >> she was able to turn her charming one-woman show into a global phenomenon. i mean what's not to aspire to if you write romantic comedies and movies about women? >> can you keep a secret? i'm trying to organize a prison break. i'm looking for like an

accomplice. we'd have to first get out of this bar, then the hotel, then the city, and then the country. are you in, or are you out? >> i'm in. >> "lost in translation" is sofia coppola's film after the virgin suicides, and it's beautiful. >> in "lost in translation" she tells a story that's so distilled and so universal of the lonely woman missing her husband in the hotel and this extraordinary friendship that she strikes up with the character played by bill murray. >> for relaxing times, make it sentori time. >> bill murray had given us a clue as to his dramatic side. you started seeing that side of him more. he is playing a celebrity. he is playing a well-known movie actor but one who is sort of dead inside. and this friendship that 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, it's fascinating. >> my name is joel barish, and i'm here to race clementine. >> jim carey in eternal sunshine of the spotless mind, he was great in that film because he's a great comedian and a great star. he has every conceivable tool that actors have, and he knows how to use each one at their own right level. >> can you hear me? i don't want this anymore. i want to call it off. >> charlie kaufman is one of those writers at his strongest

when he's working with the right director. i feel like when he and michelle began dri get together, that's when he really see what he can do. >> look where we are. >> "a teeternal sunshine of the spotless mind" makes you feel good about hollywood, that sometimes something really unusual and smart can stand out. >> bye, joel. >> i love you. >> meet me in montauk. >> it's a film that believes in love, fights the nievty of believing in love and comes to the revelation that maybe true romance is agreeing that your relationship is going to be difficult. >> 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've got going on 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 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 they kept calling it the gay cowboy movie.

it was not that. it was this haunting, beautiful, tragic love story of two men who are 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. 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. whatever their beliefs were, i wanted people to come away from that experience feeling that it had 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.

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"there will be blood" is my favorite p.t. anderson film and daniel plain view played by daniel day-lewis is a character i still can't wash off. there's not enough soap to wash off the memory of that character. >> i think paul thomas 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, dilford? >> yes. >> yes. yes, you do. >> we already knew daniel day-lewis was a phenomenal actor, but daniel day-lewis and paul thomas anderson together, it's pretty perfect.

>> the great thing with daniel, especially in that film, is that it's intense, but it's also really fun. it's mischievous fun and, you know, that was a great part for that kind of devilish mischievous to come out. >> i drink your milkshake. i drink it up. >> don't bully me, daniel. >> with him, i saw a person working another way. once he was in character and people always say, he stays in character. it's kind of a mythology. well, it's easier, maybe not for at octoberer, but for me. it's not the actor. it's this character. i'm talking to bill the butcher. >> somebody 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. >> daniel, once i saw him work that way, it was an intensity there that was very delicate. >> i am the president of the united states of america clothed in immense power. you will procure me these votes. >> he just was a miracle as abraham lincoln. i'm so honored that he finally said yes after my pursuing him for ten years. daniel's one of the greatest actors whoever acted in front of a camera. >> it's a mess, ain't it, sheriff? >> if it ain't, it will do till the mess gets here. >> "no country for old men" is set in a border community. josh brolin plays a freelance ranch hand who finds this suitcase of money in the aftermath of a drug deal that has gone awry. >> what's in the satchel?

>> it's full of money. >> that will be the day. where did you get the pistol? >> at the gettin' place. >> cor mack had visualized it as a film. i think it's an extraordinary collaboration between a novelist and filmmakers. >> it's just a beautiful film from start to finish, but it's the way they wrote their villain that really makes it, i think, the best movie of the 21st century. i mean 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 either heads or 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 cohen brothers are incredibly evocative because they're purposefully, i think, trying to bust up a norm. their true grit is an absolutely perfect motion picture. >> 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 stubddios gain contr 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 teen to sustain itself through the work that they do. >> royal tennenbaum bought the

house in the winter of his 34th year. >> a wes anderson movie is meticulously composed, curated down to the last detail and tends to take place in a world that's almost a bubble, that's sort of siloed off from the outside world. >> let me ask you something. why would be a review make the point of saying someone is not a genius? you think i'm especially not a genius? you didn't even have to think a minute, 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? >> right 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 little details that fill out this whole universe? it almost feels like a

compulsive quality. >> compliments of herr mendle. >> it's 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 all y'all will get me 100 nazi scalps taken from the heads of 100 dead nazis, or you will die trying. >> nein, nein! >> quentin tarantino, there is just stuff in all his screen plays, like inglourious basterds, they extrapolate on 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 with inglourious basterds and jango unchained. 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, continues to do it. ♪ ♪ he's the guy who's the talk of the town ♪ en 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,

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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's 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 thigh have be been so i'm very happy. >> harry potter is this idea about a young boy not only does he not think there is anything special thing about him, but he's mistreated. >> there's no such thing as magic. >> to find out you're the heir of this amazing wizarding family and you're unique and special and you have this whole destiny in front of you. that's every child's fantasy. >> curious. very curious.

>> the harry potter film franchise like the book franchise was really something that defined a generation. >> welcome home. >> 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 on audience comfort when they see that over and over again. >> blimey. >> harry! >> 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 hunts you. >> it is one of the craziest achievements of modern film making, 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 story lines or battles. how he kept that all together is unbelievable. is. >> when j.r. was writing he could write about these amazing battles and these 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 fran walsh, they said, look, we want an actor to play the role of golem. there is this new technology we're looking at which is called motion capture. i fell in home with the idea of it. it was a real epiphany when i first stood in front of the monitor and was able to move and see the avatar moving in real time with my physical performance. >> you are not so very different from a hobbit once, were you? smeegle. >> 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, lad. >> the studio executives start seeing that's the direction that we want to go. they're not looking for a single project. they want the next franchise. they want something that's not going to give them one hit film, but it's going to give them a series of hit films they can spin off into a whole world of ancillary markets and video games and everything else. >> i think what paul greengrass did in the bourne films was completely reimagine the way action films were being 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 ambition to make each one better than the last one. >> i don't think there's 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. >> the machine keeps turning. there is always more content to be made. >> ready? >> ready. >> stade. >> steady. go! billions of mouths.

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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. the girl who won had to forfeit her crown. i don't know why. something about diet pills. anyway, now she has a place in the state contest in rodondo beach. >> oh, my god. i won. >> "little miss sunshine" was the first script i wrote where i started with the ending and

rever reverse engineered everything else. >> there is footage of this child beauty pageant. i thought to myself, wouldn't it be great if an unconventional girl got up there and busted out and rock the house. i know that's a good ending. ♪ the boys in the band ♪ she says that i'm their all-time favorite ♪ >> you could feel everybody in the theater was laughing, like, at the same time. so, to me, there is nothing else better than that. ♪ that girl's gonna ride 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. ♪ >> my name borat. i like a you. i like sex. it's nice. >> "borat" is a very interesting

mockumentara. sasha barren 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. >> my name a borat. >> okay. 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 is comedy and drama all merge into these things in such an original way. and sasha as borat, that is the breakthrough acting performance of modern times. >> 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 not 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.

>> you know, the big part of the fun of the movie was we were robbing banks comedically. 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, oh, like, 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. have a good day.

i forgot to give you a hug. >> i think because he came from the groundlings and "snl" he's very aware of where the laughs are, what the rhythm is. >> santa! oh, my god! >> he could flow with a scene and change it. more like a jazz musician who will flow around it as opposed to somebody more used to reading off sheet music. >> ladies and gentlemen, can i plea 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. cannon ball! >> i love "anchor man" so much. at the time this was a big deal that he was making a movie that was his sense of humor. all the goofy shit he does best all wrapped in one. >> 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 "anchor man." whether you're talking about writers, producers, directors, co-stars, cameos. >> como estan, bitches, but i think app ta-- >> so, ready? >> yeah. >> oh, you [ bleep ]! oh, i'm sorry. i'm sorry. that's just your job. >> do you want me to stop? >> i think judd apatow changed

the landscape of comedy completely in the 21st century. >> 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 just going to absolutely kill. it's going to bring the house down. ♪ i'm just a crazy kind of girl ♪ ♪ i'll tell to the world ♪ i've just begun ♪ "bridesmaids" comes out and it's a really surreal experience watch that movie because you actually feel as though these are real women. >> ew, you had sex with him. >> we had a -- an adult sleep over. >> 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. >> please. supposed to slap it away. >> i couldn't.

>> that scene with kristen in the beginning, i am really proud of that one, in that i feel that it does capture their chemistry and you understand their friendship so quickly and they're familiarity with each other. >> what is that? >> i got engaged. >> what? >> he asked me last night. >> what? >> it showed female relationships 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 that she had and i feel fine. >> oh, my. okay. >> oh, no. >> nothing's happening. >> the poop scene, actually, that wasn't even in the script. >> not the bathroom. everybody go outside. i'm serious! >> at rehearsal, judd and paul came up with the idea, what if you guys eat some really bad food and get the shits?

>> it's happening. it's happen. >> up until that point it was very rare to see women being women in a hardcore comedy and that movie is unprecedented because of it. >> it happened. >> what are you doing? >> it happened. >> think of how many people's careers have been made by that movie. >> hey, not air marshal john, do you want to get back in that restroom and not rest. >> no, i have to get back to my seat. >> yeah, you got to get back on my seat. >> melissa mccarthy got an oscar nomination for that part because she's such a force of nature. >> good news, i found his balls. and a clear sack. enjoy that. shove those back up there. >> oh, my god. melissa mccarthy, i mean, she's a genius. she's not just funny, she can do anything. boom.

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up ahead was pandora. you 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 -- and it's categoried towards the that cal experience, which i feel like is part of james cameron's genius. 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'd been ruminating on a long time, it's original, and that's 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 felt 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, katherine bigelow, directed a movie that couldn't have been more different. >> if everything looks okay when i'm 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 for us, we're just going to blow up their [ bleep ] road. >> sounds good. >> in making "the hurt locker" what katherine bigelow essentially did was make a war film as a suspense thriller. so you don't get these big battle sequences and it's just this one person going into the realm of danger. >> oh, mine. >> katherine 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 ] >> katherine 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 katherine bigelow has a chance to make hollywood history. just the fourth woman ever nominated for best director and would be the first woman to win the award. >> as we're getting to the oscar season where the big rival is james cameron's avatar, there is 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. katherine bigelow! >> what's interesting about her is that 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 signs over everything. if he doesn't show at trial, see, the way the deal works is y'all going to lose this place. you 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 and that's the place where one can do that. >> jesus. >> dad's your own brother. >> you think i forgot that? >> coming on 40 years but i don't know where he's at and i ain't going to go around asking

after him either. >> still stands as one of the best indys of that time. it gets the grand jury prize at sundance, an honor for a small movie by a not 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. >> prim! prim! 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. >> and then an oscar darling with movies like "silver lining's playbook." >> forgot i offered to help you. forget the entire [ bleep ] idea

because that must have been crazy because i am so much crazier than you. >> keep your voice down. >> i'm just the crazy slut with a dead husband. forget it! >> shut the [ bleep ] up! >> [ bleep ] you! >> she was great. i love jennifer. her character was so powerful and strong, and she did it so well. >> i didn't trust her before, but i got to say, now i do. >> oh, now you like her, dad? >> i have to say i do. yeah. >> when she wins the oscar for "silver lining's playbook," it makes perfect sense. she's not just a figure very much in the tradition of the great movie "stars of the past" but someone who is funny and witty and real and seems like she can do anything she sets out to do. >> three, two. if your glasses aren't perfect, we'll fix them. so will we. no we won't. don't forget to use your vision benefits before they're gone. now in-network with vsp.

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so where are you? you're in some motel room, you just -- you just wage up in 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 -- >> "momento" is a fractured narrative about someone who has lost their memory played by guy pierce. >> i guess i already told you about my condition. >> well, only every time i see you. >> it's just a really kinetic,

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 say 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. >> had no drive, no reason to make it work. me? yeah. i got a reason. >> i love chris' films. it's a rarified air to be able to occupy this place where you're so sinmatically 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 green lit 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. >> chris nolan knew what he was doing in casting christian bale and he knew what he was doing it by making it a realistic portrayal of batman to where you could believe that this is how a billionaire kid became the dark knight. >> good evening, ladies and gentlemen.

we are tonight's entertainment. >> in "the dark knight," heath ledger close to play the joker as a genuine psychopath. 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 also as crazy as you look? >> i told you i'm a man of my world. >> there's a scene in the movie where the joker has stolen millions of dollars and then he burps it all because that's meaningless to him. he just wants to create chaos. >> all you care about money. this town deserves a better class of criminal and i'm going to give it to them.

>> heath ledger i think changed how villains are portrayed in super hero 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 legitimatized the superhero movie so much there is almost this ruinous effect that nolan probably doesn't see coming. 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 it was an older character. it wasn't somebody who had an origin story of being an ordinary person and then becoming superhuman. >> we throw these in with every purchase of $500 million or more. >> it was a story about someone who was successful in life, kind of unlikable, 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 have been from the very beginning, it was a no-brainer, you know? john favro is an exciting filmmaker, iron man is can exciting character. everything lined up. they got it right. >> ooh, yeah! >> 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 stanley had co -- 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 week. the first movie to make more than $200 million in one week alone. >> outside of the actual world of comic books, i don't know there's ever been another cinematic experience that is as indicately 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 i'm a cherry bomb ♪ >> 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. she wanted to move someplace warm.

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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 committee birdman" was as joyous of an experience of making a film as i ever hoped to have. >> i'm sorry i'm so popular, mike. >> i don't give a shit. popular? popularity is the slutty little friend of prestige, my friend. >> i don't even know what the [ bleep ] that means. >> i don't know what was in the water out -- but that is a pack of talent 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 when shooting, we're like support groups because we suffer so much that we need to talk to someone else who suffered a little bit more. >> these filmmakers don't come out of a void, they come out of a country with a rich cinematic tradition. so they bring a very special perspective, which has evolved over a long period of time.

[ speaking spanish ] >> "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 together with fairytales, so it's becomes a really accessible mainstream movie that also has these dark, fantastical elements that he's been working on for years. >> the universal monsters, of course, are sin malhistory, and so much inspiration of what he does comes from those old movies. >> i can see the love of thee monsters in his films and you can hear when he talks about it. i mean, he -- you know, it's special. and "shape of water" is clearly

his "creature from the black lagoon ". >> guillermo del toro is an appreciator of the old school movie making. he never lost the 12-year-old geeky fanboy within himself. and i think that's why audiences can relate to his work so much. >> what you're seeing is a lot of directors using established genres to do something that's actually very iddio siosdiosync. he can make a movie like "gravity" that is spectacular that 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 know, to know. but the think is is that i'm still scared. i'm really scared. >> alfonso 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, you know, 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 longtime cinematographer who is known as this kind of magician of the camera, he was just able to do these things that no one had done before. i was speaking the other day with someone who is an industry professional. he said he and several other people he knew decided to become filmmakers when they saw the car scene in "children of men." >> i'm not going to make it. >> jesus christ! >> it was like doing a set piece, you know? we were really driving the car. there were really fires on the hill. the camera would move overhead. so i think for us as actors it was exciting. >> she's been shot. she's been shot. >> 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? it's the story telling that comes first and the camera work that comes second, but they just compliment each other so beautifully. >> what it does as well in "tis understand that film should be an -- you can feel like you're in some horrible survival story in the midst of very rugged wilderness. >> it pulls on your heart strings, pulls your heart out and then kicks you while you're down. you are gutted by his films, but you can't look away.

>> jesus christ. jesus christ, what happened? >> where is he? >> they are these emotional personal films that really, i think, energize film in general. >> alejandro g. -- >> tonight's big winners included director alejandro for the rev instant. he won last year for "bird man." the first time a director has won back-to-back oscars in 66 years. >> those three, these are the guys that everybody's talking about. these are the movies that are exciting people, that are really moving 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 my compadres and like many, many of you. and i think that the greatest

thing our art does and our industry does is to erase the lines in the sand. we should continue doing that. when the world tells us to make them deeper. boom. enjoy your prime rib! anyone ever call you, "meat santa"? no, that's... weird. happy holidays. enjoy. next customer? enjoy. apps except work.rywhere... why is that? is it because people love filling out forms? maybe they like checking with their supervisor to see how much vacation time they have. or sending corporate their expense reports. i'll let you in on a little secret. they don't. by empowering employees to manage their own tasks, paycom frees you to focus on the business of business. ♪ music

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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. 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 way. >> i ain't got no comfort in desire. i can't buy mercy from you. i'll beg it.

>> it's not the easiliest film to watch. as no steve mcqueen movie 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 tef 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 it's drawing our attention to black history. >> the president doesn't want us to 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 that she knew you could not tell dr. martin luther king jr.'s story in its entire in a two-hour motion picture. you instead pick a moment in their lives that speaks to the kind of person that 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 the furious" movies, how many "straight out of comptons" when does it stop becoming a trend? that's the conversation that needs to shift. and more importantly, it's the type of stories that are getting told. >> give me your head. let your headrest in my hand. relax. i got you. i promise. i'm not going to let you go. hey, man, i got you. >> "moonlight" put it on the map as a major filmmaker. it follows this character. 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. >> been 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 that 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. >> what's that? >> hey! >> ryan cougler first gets attention 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? >> the resident 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 cougler's really amazing because you go from this intimate, powerful story beautifully told. remember when the word was getting around he wanted to do his own "rocky" movie. >> 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 virtu virtuosity and some of the best fight sequences i've seen. >> there's a perfect right-hand shot by creed.

>> yes! >> the leap he's made to "creed" and then he escalates it again with "black panther." >> woo, let's go! >> put some music on. 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 went 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 are like, we going. >> wakanda forever! >> wakanda forever! ♪music

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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 and all families are very much the same. >> just 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 maybe you'd learn to pull yourself up and not expect everybody to -- ahh. >> "lady bird" is greta gerwig's feature debut. it stars saoirse ronan and it's a semi-ought biographical story

about a young woman coming of age in lovely sacramento. >> a reading from the book of genesis. >> not to put too much pressure on lady gerwig, but she's the hope. she's been this 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. >> baker is a very inventive, independent filmmaker. he was first on my radar screen for the movie "tangerine" which

he shaut entirely with an iphone and which captured women in a trans community in los angeles. >> the world can be a cool place. >> yeah, it's cruel. >> 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 filmmaker 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 as 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 wider culture stealing from you, of

taking your food and your culture and your music, and you take that to sort of the horrible 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 when 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. >> man, i told you not to go in that house.

>> finally we are seeing a little more diversity among the people who are making the 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 replay, and we live our lives by them. >> it brings all the elements of all of our senses together. there's 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 can 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 in 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. nazareth 2015, one of the greatest archaeological discoveries of the century is revealed to the world. could this be the remains of the childhood home of jesus? >> on archaeological grounds, that is entirely possible. >> were these ancient artifacts the personal belongings of his mother, mary? >> we do know that it was a house of the kind that mary and joseph could have lived in. >> i personally think it's ver