only movies can present the truth of human drama and then transport 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 and a half 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 already 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 try 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? >> what? >> 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. >> are you all right? are you all right? >> yeah. >> huh? >> yeah. >> "goodfellas" was based on a book called "wiseguys." and i read it, and i said, you know what? what if i play this guy named jimmy 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. and 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. >> [ bleep ] believe what i just heard. this is for you. attaboy.

>> the dangerous enjoyment of it where you can be enjoying and then 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 morays 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. >> would you like 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 sin tingt," the character is a sociopath. 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 me for how jonathan shot walking to meet hannibal elector. >> 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.

>> most serial killers keep some sort of trophies from 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 screaming 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, and then anthony hopkins wins for best actor for playing hannibal

lecter with maybe 16 minutes of screen time. >> 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! you hear me? 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. >> i was driving home one night and the idea just 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're a 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 was the

last journey and therefore the journey had to be magnificent. >> a lot of women looked at this film and thought, i can relate to those women, you know what they're going through, i can relate to the choices they make. >> let's keep going. >> what do you mean? >> go! >> they looked at each other and they both knew. >> 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 who's corrupt.

>> i wouldn't worry about this contract. >> you need some claustrophobia, right, you need to make the audience 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 these fellas lives 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 ♪

>> 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 of it. >> 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 ] >> no! no! >> 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 really

willing to kind of let your guts come out. >> get outta here. >> fine. >> i'm taking amy. >> you're not taking amy. 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. most people think of verizon as a reliable phone company. but to businesses, we're a reliable partner. we keep companies ready for what's next. (man) we weave security into their business. (second man) virtualize their operations. (woman) and build ai customer experiences. (second woman) we also keep them ready for the next big opportunity. like 5g. almost all of the fortune 500 partner with us. (woman) when it comes to digital transformation... verizon keeps business ready. mostly. you make time... when you can.

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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 what oliver stone is saying is you can't trust anybody. >> 8-7-6 -- >> the nation was captivated by this game show, about the truth and the perversion of truth in the name of entertainment. >> you're young, you're from a prominent family. >> kids would run to do their homework to be like charles van doran. >> 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. and then certain people were beginning to get tired of him because he wasn't that pleasant to look at. but no one could beat the guy. 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.

>> 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, landed right on top of us. >> "malcolm x" is spike lee's 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. >> 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 people. we don't need to despise them or stigmatize them. >> my name is forrest, 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. >> 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. but all i did was play ping-pong. >> that film embodies everything

that makes tom great. he's fantastic dramatic actor. he's a 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 watching

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. but it also is 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. and i thought he was the best possible schindler i could possibly find, and he was. >> he saved my life. >> yes, he did. >> god bless. >> yeah. >> god bless you. >> oskar schindler was a deal maker, and he didn't really care that much for his workers. but there was an inevitable

metaph metapho metaphorphosis 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. >> 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 and allowed us to really mean it when we say "never again," "schindler's list" is the greatest experience i've had as a filmmaker.

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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. >> fill, like the groundhog phil? >> yeah, like the groundhog phil. >> 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 they're joyful. >> what's going on in here? >> it's so rare when someone comes along and creates their own esthetic, which is truly unique. ♪ me walking a long and lonely mile ♪ >> 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 enter stage right 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. >> you like your nurse's uniform, guy. >> 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. whoopty-do! >> if you look at the scenes that are memorable from something like "wayne's world," they're big scenes. they're heads bobbing back and forth. they're not afraid to do something big to get a laugh. >> smoking! >> 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 >> he's looking at you. what's he -- >> oh, no. >> i don't have to be too intellectual about it, i just laugh my ass off. >> ow! >> part of it was like, i can't believe they're doing that. >> what's that bubble there? >> what do you think? >> how in the hell did you -- >> the farley brothers pushed the rules so far that you can do that? >> "something about mary" is this anarchic comedy that had joyous heart to it. >> maybe you should move down here and marry me.

>> it introduced cameron diaz as the ultimate cool girl. >> 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 9:00, 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'm thinking 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. >> all right. there's my flair, and this is me expressing myself, all right? ♪ teacher's pet, i want to be teacher's pet ♪ ♪ i want to be huddled 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." >> if i ever do that again, i'm going to kill myself with a vegematic. >> that's where the character in "waiting for guffin" was born. me right out of the navy, fresh off a destroyer, with a dance belt and a tube of chap stick basically, you know, 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. >> i'm 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? then i just hate you and i hate your ass face! when life changes, so do your taxes.

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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." >> 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 got a call of a burglary here. >> yeah, that was about an hour ago. >> whoa, we didn't ask you that. >> i decided to have a black cop be more viehement than the white partner in the scenes where he's encounters the black residents. >> something wrong? >> something wrong?

yeah. it's just too bad you don't know what it is. >> the same black 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 ever nominated for best director. >> it was an era when a lot of people were playing attention 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, there would

be five instead 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. and so when it came time to go to hollywood, all of them were very convincing on screen. >> craig. >> hold up. i can hear my heart beat. >> man, that's what it's supposed to do. >> "friday" was one of those films that made me excited about being in the film industry. >> hey, guys. >> hey. >> cube at the time transitioning from music into film making, the way it got sold at sun dance -- >> damn! >> -- it was this quintessential independent cinema coming to the

main stream 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. >> "house party" is just a fun, silly teen comedy. >> ladies. b-love's in the house. >> dragon breath. >> who you talking too? >> kit and play who were a musical duo 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 indy black film 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 black female filmmakers

were 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's beautiful. you also have the movie directed by lesley harris. >> you're too cute to be a gentlemen, right? >> come on, you don't have to be like that. >> whatever, whatever. >> it's a quote/unquote hood movie, but it's a hood movie from the perspective of a young black 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, family films like "soul food" or films like "waiting to exhale" or "how stella got her groove back," -- >> good morning.

>> -- 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. and he chose the one role he thought nobody would expect him to play, a gay hustler in "six degrees of separation." >> i pick a name, you tell me everything about them, where they live, secrets, everything. if i get a 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 bubblicious. >> 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

anyone has ever seen. will smith looked at that and said i'm going to do the same thing. what translates abroad? sci-fi aliens, so that is what he did. >> 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. you leave it to me. i'll get your taxes in an ok place. what? just as soon as my audit's over, this gets my undivided attention. you take a lot of trips to the islands, phil? pretty great, right? oh phil's legally dead. fell off a boat. going by denis now. celery. long story. what do we got here. oh. not going to want to see this. i don't think this is going to work. just ok is not ok. at&t has america's best network, now with our best plans, at our best prices, starting at $35 a line for 4 lines. new from at&t.

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what's your name? >> what do you want it to be? vivian. my name is vivian. >> vivian? >> i remember meeting garry marshall for the first time and being so nervous. making this movie with him was hysterical. we didn't really have a complete script. i remember one day looking at richard saying what scene are we doing? he says, i don't know. i said gary, what are we doing? he says, be funny, action!

did we think it was going to be a huge success? not necessarily. >> hi, do you remember me? >> no, i'm sorry. >> i was in here yesterday. you wouldn't wait on me. >> oh. >> you work on commission, right? >> yes. >> big mistake. which is, huge. i have to go shopping now. >> "pretty woman" makes julia roberts a major star. that smile, that interaction with richard gere, that improvised little thing with the julia box and the pearls in it. >> gary just said, touch it. it's the most amazing thing you've ever seen. >> we fall for her, and we fall like a ton of bricks. >> oh, my god. it's the bride and the woman she'll never live up to. >> she rises through the decade, but ends it.

my best friend's wedding, run away bride. >> can i help you? >> no, thanks. i'll just look around. >> richard curtis says he wrote it with me in mind. and i love when writers say that. i don't care if it's true. it's hard to find really great, original material that hold a real performance and the comedy and the physical comedy, than some threat of love you're trying to accomplish. >> i'm also 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 romantic comedy gets its

jump-start. and you have a number of people who are adept at the form of the romantic comedy. you have sandra bullock, hugh grant, meg ryan and tom hanks. >> she made everything beautiful. and it's just tough this time of year. >> 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. every line was specifically found or written or perfected. >> norah 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 the movies, women are always scratching up the men's back and screaming when they have sex. >> how do you know this? >> jedd's got cable. >> this movie is about a widower. that was a brave choice. you saw people working on the screen who weren't from the traditional american family. >> the great thing about norah is, when she was talking about the dynamics between men and women who are attracted to each other or need each other 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 begin where is an '80s movie ended.

>> what's going on? >> they're firing jerry mcgwire. >> the script went right to tom cruise. he calls in immediately. i love this script. i'll read it with you and 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 mcgwire. how are you doing? >> how am i doing? i'll tell you how i'm doing. i'm sweating, dude. >> cuba and tom, just deliriously happy actors. show me the money. they were just landing blows on each other. >> show me the money! >> and that scene just kind of exploded. >> congratulations, you're still my agent. >> that film really spoke to me

so deeply, this single mom with this precocious little kid. and bringing a guy into that 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. 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've -- >> stop. just shut up. you had me at "hello." you had me at "hello."

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this has been going on for 20 minutes now. >> what is he looking for. >> he has to find the perfect dozen. >> each egg has to be perfect. >> in the '90s, you could feel this xipt that there was something happening here. there started to become a genuine independent film movement. and sundance institute had everything to do with it. >> the idea of starting sundance was i felt i'd grown up being a part of the major film industry, because that's all there was and was very fortunate to be part of that. as time went on i became more aware of other stories that could be told. they'd be told by people less inclined to be commercially attractive. they were different. they were off-beat but stories i felt should be told. >> women are lonely in the '90s. it's our new phase. we'll live. >> they weren't looking at who made the movies.

they were looking at the movies. they have a commitment to showing films with very specific, authentic voices. >> there was a sudden recognition because of the success of films that came out of that festival and it drove such a profound change into mainline hollywood. >> hey, man. you got a joint? >> ah -- no. not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," "dazed and confused" was a complete euphoric look at young people before they have to become adults. >> other high school movies. there's a million of them, but very few that really gives you an honest depiction of that time in your life. >> whew! >> you ready to bust some ass? >> and then you see all these

fantastic actors that started out in "dazed and confused." >> that's what i love about these high school girls, man. i get older, they stay the same age. >> richard linkletter cast all those fabulous girls. the characters i just adored. they just felting like real girls to me. >> let me tell you this -- the older you do get the more rules they'll try to get to you to follow. just got to keep listening, man. >> the beauty of linkletter is his touch. the lightest touch. it's lightning in a bottle. >> everybody cough up some green for the old lady. come on, throw in a buck. >> i don't tip. >> you don't tip? >> i don't believe in it. >> you don't believe in tipping? >> i was banging around trying to be a writer and a

fillingmaker and i read "reservoir dogs" and thought it was clearly written by somebody who was 67 years old and gotten out of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us allowing us to discover quentin tarantino. >> who cares what your name is. >> that's easy for you, you're mr. white. you have a cool sounding name. no big deal for me to be mr. pink, want to trade? >> hey. nobody's trading with anybody. this ability a goddamn [ bleep ] city council meeting you know. >> it was really going to underscore the violence. for me that was a break through moment. >> some [ bleep ] fad. is it bad? >> as opposed to good? >> here violence and brutal violence comes with a heavy, at times, dose of comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him vincent. >> royale with cheese. >> royale with cheese.

>> you know why they call it that? >> uh -- >> because of the metric system. >> check out the big brain on brad. >> "pulp fiction" was a dream of a screenplay and it was the screenplay itself that was this wild, hairy bug. it was like a tarantula on the doorstop. you just had to look at it. my god. look at the size of that thing. >> let's just forget it. >> that's an impossibility. trying to forget anything as intriguing as this would be an exercise in futility. >> is that a fact? >> look at what john travolta does. look at uma thurman. bruce willis. it was slick. it was fast. it had no convention to it whatsoever. it just rewrote the rules of the way you could make film. >> die you [ bleep ]! >> you constantly have to pay attention.

you have all these characters who are somehow connected. you have to figure it out as the movie does on. >> i love you, pumpkin. >> i love you, honey bunny. >> everybody, this is a robbery! >> you know a tarantino film the minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ and i know got to go same thing every night ♪ >> came out of this kind of cocktail of '50s nostalgia culture in l.a. and it kind of became a phenomenon. >> what do you guys do? >> i'm a comedian. >> when i started writing "swingers" i didn't know it was going to be a movie or a full script. i was just having fun writing stuff i got a kick out of and kept going with it. >> you go up to talk to a man i don't want you to be the guy in the pg-13 movie. >> really? hoping it makes it happen. >> i want you to be the guy in

the rated a movie. the guy you're not sure whether you like him. you're a bad man. you're a bad man. you're a bad man. >> it was sort of that indie comedy sensibility and we were influenced by tarantino and others. it's not that hard. whatever happens out there today, remember, you have the hilton app. will the hilton app help us pick the starters? great question, no. but it can help you pick your room from the floor plan. can the hilton app help us score? you know, it's not that kind of thing, but you can score free wi-fi. can it help us win? hey, hey! we're all winners with the hilton

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animation was disney's brand, but in the early '80s they were adrift, and "little mermaid" was the movie that showed what they could do. and that kicked off a total revolution in the animation world. >> and now we invite 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. ♪ >> the disney studio re-examines

the templates of snow white, bambi, and in the process of doing that, returns the disney animation to its fundamentals. >> 10,000 years will give you such a crick in the neck! >> and because they're done with cleverness and with great use of music, which disney specialized in, they capture the same magic. ♪ ♪ the lion king" is an interesting tale, but it 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 directors, the right music. ♪ i just can't wait >> people were ready for that kind of a story on that kind of an epic scale. and then you can see the beginnings of cg in the background for things like the stampede. it's one of those things where 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. >> there seems to be no sign of intelligent life anywhere. >> hello. >> the comedy wasn't talking down to kids, it was for everybody. >> look, we're all very impressed with andy's new toy. >> toy? >> t-o-y, toy.

>> i think the word you're searching for is space ranger. >> the word i'm searching for i can't say because there's preschool toys present. >> i was just blown away. the technology for me was nice and interesting. but that wasn't what blew me away. but here were new characters -- >> to infinity and beyond. >> the film was contemporary, it was not a musical. and it was done with all the sincerity of the walt era. >> do you actually think you're the buzz light year? oh, all this time i thought it was an act. hey, guys, look, it's the real buzz light year. >> you're mocking me, aren't you? >> anybody wanting to study screen writing should watch pixarmovies. >> if you knew him, you would understand. >> let me guess, andy is a

special kid and to him you're his best friend and when andy plays with you, it's like -- 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. there's something about stop motion that is so pure and strong. ♪ what's this, what's this? i can't believe my eyes ♪ >> tim burton has managed to

take the most macabre things and make them so fun and so heartbreaking, and beautiful. no one haset tet aesthetic. >> i have a present for you. >> "edward scissor hand" is kind of frankenstein. vincent price creates a boy but dies. >> that's a character that tim brought to life. i've seen tim draw a character with two strokes of a brush and you knew who they were. >> a five-run inning. >> 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 way of speaking without speaking, and communicating, which is why he was edward si zcissor hands. i feel some connection to him or which nokno wi dchs >> are we going to be working together? really? worst film you ever saw. my next will be better. hello? >> edward was such a sweet movie. yet it's just completely cool and crazy. >> he's a monster. imagine what that guy would look like in a movie. >> johnny depp plays a real life character, edward, who is known z the worst film director of all-time. >> his character is so perfect. you love him for his enthusiasm. >> all right. prepare for scene 32.

>> places. >> we all feel that. every time barks out a movie, he thinks it's going to be the greatest thing. >> it was lovingly made in appreciation of what that guy had done. >> these actors, they really love their craft, and that kind of weird sense of family you get in film. this felt very close to me. it felt like my own life, a bunch of weirdos trying to make a movie. that's easily relatable to me. >> this is the one. this is the one i'll be remembered for. your taxes in an ok place. what? just as soon as my audit's over, this gets my undivided attention. you take a lot of trips to the islands, phil? pretty great, right? oh phil's legally dead. fell off a boat. going by denis now. celery. long story. what do we got here. oh. not going to want to see this.

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♪ >> go! go home. bad wolf, bad wolf. >> when you think of if 'nibl90 you think of kevin costner, jodie foster, you think of mel gibson. and you think of clint eastwood, who finally gets his due in the '90s. >> "unforgiven" is a miraculous film in many ways. the legacy in eastwood's case in

the case of all the westerns and the dirty harry films is landed on this moment of frailty. >> my agent calls and said clint eastwood made an offer. clint eastwood eastwood? yes. you'll be his partner in this western. well, shucks, tell him i'll think about it. ha, ha, ha, ha. >> i remember there was three men you shot, will, not two. >> i ain't like that no more, ned. i ain't no crazy killing fool. >> clint eastwood and morgan freeman, who have been professional killers and they're sick of violence, but they get dragged back into it. >> i killed women and children. killed just about everything that walked or crawled at one time or another. but 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, decisive. just beautiful. >> there were directors in this period like michael mann who are the rebels within the studio system. the guys who are just doing it differently. what is am i doing? i'm talking to an empty telephone. >> i don't understand. >> because there was a dead man on the other end of this [ bleep ]. >> he provides us an opportunity to finally see robert de niro and al pacino do a scene together. >> what do you say i buy you a cup of coffee. >> the scene in the diner, all three of us, we knew it was the nexus of the whole film. >> some guy looking to [ bleep ] up, get busted back.

>> i worked all kinds. >> it's one of my favorite scenes between these two guys. i think we did a good job with it. >> i do what i do best. i take scores. you do what you do best, try to stop guys like me. >> they're not taking their eyes off each other. >> i will not hesitate, not for a second. >> people want to see great actors tell me the truth. guys like michael mann would always punch you in the gut. they would make a movie counter to everything everyone else is doing but there would be truth in it. >> you want your wife kidnapped? s is the yeah. >> i think "fargo" is perfect in every day. the screenplay is perfect, the execution is perfect. the performances are perfect. >> it was written for me. i got very excited. they said, joel came home from

work and said there's a part for you. >> we got a shooting. these folks drive by, there's a high speed pursuit, and then there's this execution type deal. >> the scripts are publishable works of literature. for example, the scene in "fargo" where marge is interrogating the two strippers. >> they said they were going to the twin cities. >> oh, yeah? >> yeah. is that useful to you? >> you betcha, yeah. >> yeah. >> it was punctuated and written in the rhythm that we played it. and it's beautiful. >> and the oscar goes to "fargo." >> "fargo" was the cohen brothers film that 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 -- well, he's the man for his time and place. >> one of my favorite stories is how long it took jeff bridges to agree to do it. joel nathan wrote it for him, sent it to him, and i just remember them thinking, how could he not? obviously, he came to that conclusion himself. >> let me explain something, i'm not mr. le dchs bowski. i'm the dude. that's what you call me. his dudeness or duder or el dudorino. >> it's the only time in my life where i haven't been able to look an actor in the eye because he was so funny. >> jeffrey.

love me. >> that's my robe. >> "the big lebowski" is the most quotable room of my generation. >> that rug really tied the room together. >> the cohen brothers are subversive. they're revolutionary bomb throwers. but you are 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. and i think by exploring the genre, they subverted it. >> i make exotic pictures. >> where i grew up was the porno capital of the world in san fernando valley. i would know what the difference when it was like a van or a regular shoot. that's where "boogie nights" came from, a world i knew really well, oddly enough.

>> who's dirt digler? >> that's that new good looking kid. >> good name. >> when i got the script, i called my agent and i said, are you punking me? it was an x rated script. i said it's going to be r. i said no, it's not. there's coplating in it. he said no, that's the contract. i said, well, i'm in. >> i used to argue with paul that amber should die. he's like, she can't die. i was like, she would, she probably would. i don't know that she would have survived that. >> are you my mom? and you say yes. are you my mom? >> she kind of sees the mantle of parenting in this world. she's not taking care of them, she's play acting. >> what we're talking about is coming to an agreement on the custody of amber. >> the thing that i really love about the scene, as she's

fighting for custody, the judge turns to her and says maggie, have you ever been arrested? >> when is the last time you were arrested and what was the charge? >> cuts to outside and amber sobbing. she's not responsible enough to parent. >> you don't have to be interested in pornography to be interested in people that have been rejected by their family. the moral center is about all these broken humans trying to make themselves whole. and help by finding a stitch together family when they don't have an actual family of their own. >> paul thomas anderson has never made the same movie twice. when you see a paul thomas anderson movie, you know it's a paul thomas anderson movie. i'm not sure there's a higher compliment that you can pay to a director. his imprint is on his films. >> oh, come on, frank. what are you doing?

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♪

the piano was ravishing and also uncompromising. it's a really visceral movie. you kneel 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 entry matt movie in her country. it was the kind of intimacies that jane pulled us into an audience. she has a voice not to be denied. >> 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 the pondor at cannes and became the second woman to be nominated 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 it's all about, have you? it's a state of mind. >> they don't want to be acknowledged as a female director. i fought my whole career to be acknowledged as a film maker, not a black filmmaker. >> i'm a bad therapist. do you hear me? i am a bad therapist. i am making these people worse. >> walking and talking was

inspired by the time my best friend was getting married. >> you're so fake looking. >> they were a perfect match. i love them both. but i felt very lonely. >> it's not fake. frank gave it to me. >> i thought that was funny. >> we're engaged. >> yeah. >> we're going to get married. >> whoa! >> 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? >> i don't know what to say. >> i just don't know anyone who is better at setting up that kind of situation that makes us all squirm because they're so human. >> i don't know why she's going out with a high school boy. they're like dogs. you have to clean them and feed them. they're like these creatures

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

again? >> penny mar hall looks at the role of women, 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 iconic. >> i told them it was their patriotic duty to get out of the kitchen and go to work. now when the men come back, we'll send them back to the kitchen. >> should we send the men returning from war back to the kichen? >> it 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. >> what did she do?

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i loved the original "terminator" but the sequel blew it out of the water as far as i was concerned. that chase in the l.a. live we are that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom, he's here to help. >> it's got heady ideas about time travel and this space time continuum. but it's also a story about being relentless. 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? >> it's amazing how long it takes before the t-rex comes 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." >> what steven spielberg innately understands is that dinosaurs are awesome. >> it was the same feeling i had as a 7-year-old watching "jaws" for the first time, when you would see the dinosaurs leap 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. >> a lot of the enthusiasm from cgi comes from "jurassic park"

and what that technology could do for their story telling. >> "titanic" is a throwback in so many ways to the big blo blockbusters of the '50s and '60s. not just in scope around scale, but also that it was talked in the way that we talk about cleopatra. >> the buckdget hit at then an unheard of $200 million. >> leonardo dicaprio had done "what's eating gilbert grape" so there was some nervousness about can he do this ning >> the studio thought they were in a 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!

>> "titanic" really had everything. it was an epic, old fashioned movie. >> iceberg, straight ahead. >> an action movie. it also had a love story at the heart of it. >> jack dawson. >> rose. >> i'm going to have to get you to write that one down. >> it was irresistible. it was sexy. kate captured that independent woman that was not be pinned down. and they were just this vivian lee, clark gable kind of pairing. >> "titanic" is this moment where james cameron is straddling these two worlds. the human scale and the computer scale, putting them together. and from this moment on, the world goes computer.

>> you have to let it all go, fear, doubt, and disbelief. free your mind. >> whoa! >> "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. >> keannu reeves had already done "point break" and "speed" but this is a different level of action star he's transforms into. this is six months of training that every actor had to go through. one of the things you get with the actors doing their own stunts, you can film closeups of the face while a punch is being

thrown. the action itself becomes a >> we become a little more sophisticated in our tastes when we see computer generated affects because each year it's more sophisticated and life-like. >> how? >> he is the one. occasional digestive upsets, 24/7 with a strain of bacteria you can't get anywhere else. you could say align puts the pro in probiotic. so, where you go, the pro goes. go with align, the pros in digestive health. and try align gummies, with prebiotics and probiotics to help support digestive health.

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i'm going 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. 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. the bell's about to ring and everyone's trying to get their

thing in before the century ends. you have this interesting combination of young directors, swinging for the fences, and more established. >> i have to put my family's welfare on the line. and what are you putting up? words. >> while you've been [ bleep ]ing around, i've been out there giving my word and backing it up with action. >> i'd stack '99 up against any year in terms of dropping significant work. >> hey, mr. mcallister. >> not wasting anytime, are you, tracy? >> you know what they say about the early bird. >> yeah, i do. >> "election" is the second movie of alexander payne. reese witherspoon is tracy flick, someone you almost want to root for. and also she has a little bit

too much and big. >> 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 voice over from 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 reese witherspoon are terrific. >> "boys don't cry" is based on a true story about 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", a phenomenal movie. no studio would have made that movie. it was a game changer in terms of what was made before and what was made afterwards. >> 1999 was just such a great year in independent cinema. you look at that lineup of films from "virgin suicides" 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. >> it's a great combination. spike jones and charlie kaufman and they remind people movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a meta fictional dive into literally the brain of john malkovich who was 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 and it coe heres into this beautiful film. >> 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 film maker who is uniquely possessed of the chops to do it right. >> ow! >> "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 that 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 number of really

promising black film makers coming up. women's voices coming more to the forefront in they're writing films and directing films and big blockbusters. it lays the ground work 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! ♪ ♪ ♪ ♪ ♪