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! ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪

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. >> there's two things that aggravate me, mr. masry. being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trusted you. >> i'm 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 convince someone to give you a job that pays worth a damn. are you getting every word of this down, honey, or am i talking too fast for you?

>> "erin brockovich" is a true story starring julia roberts about a paralegal gathering up clients for a class action lawsuit against a company that was poisoning the water in a community and then lying about it. >> we're going to get them, erin, aren't we? you got to promise me that we're going to get them. >> to get to be in the orbit of steven soderbergh 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. >> steven soderbergh 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.

>> there was a scene where they 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. 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. ♪ look at this. an entire generation of cinderellas and there's no slipper coming. (janine) ghostbusters!... of course i'd love to take an informal poll. i used to be a little cranky. dealing with our finances really haunted me.

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>> 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 "moulin rouge" awesome. everything about that movie is awesome. >> at the time when "moulin 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 roxie'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. ♪ when you take align, you have the support of a probiotic and the gastroenterologists who developed it. align naturally helps to soothe your occasional digestive upsets, 24/7.

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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 suntory 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 kruczynski. >> 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. >> i want to call it off. 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 michel gondry get together, that's when you really see what he can do. >> look where we are. >> "eternal 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 naivete 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. ♪ there he is.

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♪ "there will be blood" is my favorite p.t. anderson film and daniel plainview 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 actor, 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. >> cormac 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 studios gain control and as much as money becomes the coin of the realm, the spirit of the 1970s, the idea that the filmmaker could still be the one in charge will continue to sustain itself through the work that they do. >> royal tennenbaum 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 mengele. >> 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, nein! >> quentin tarantino, there is just stuff in all his screenplays, 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 "django 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. >> yo! you son of a -- ♪ ♪ he's the guy who's the talk of the town ♪

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good luck, harry potter. people needed to escape to a world of wizardry and magic. >> there was tremendous anticipation for this film. of course, we were careful to run everything by j.k. >> "harry potter" is an idea of a young boy that does not think, not only is there nothing special about him, but he's

mistreated and then to find out you are the heir of an amazing family and you have a whole destiny in front of you. that's every child's fantasy. >> it's curious. very curious. >> the "harry potter" movie franchise, like the book franchise, is something that defined a generation. >> welcome home. >> the design of hogwarts and the hold world building is impressive. >> the idea and the magic of a world like that gives an audience comfort when they see it over and over again. >> fly. >> it certainly underscored the importance of literary

properties, if you are faithful to the underlying source material, the audience will embrace it. "lord of the rings" is a rare example of a film that lives up to the hype, and lives up to it three times in a row. >> are you frightened? >> yes. >> it is one of the craziest achievements of modern film making, the insane gamble to make these three epic huge fantasy films altogether. >> jackson, the director, he was in charge of shooting the various storylines and battles, and how he kept it altogether is

incredible. >> he could write about these amazing battles in these fantastical worlds. what he was able to do is make that world seem real in a way you had not seen in fantasy films before. >> when i met with peter and fran walsh, they said we want a actor to play him, and they said it's a new technology we are looking at and it's called motion capture and i fell in love with the idea of it and it was a real epiphany when i was able to see the avatar moving. >> you are not so different than a hobbit once, were you?

smegal. >> what did you call me? >> "the lord of the rings" tr l trilogy, it's introducing you to actors that are household names and it's an epic that i don't think we felt in culture since the original "star wars" films. >> 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. >> they were saying, that's the direction we want to go. >> they don't want a single project, but they want a franchise and a series of hit films that they can spin off

into market television and video games and everything else. >> i think what it did was help re-imagine the way films are shot. >> can you open the door? >> i can't get over the "mission impossible" films. >> you get four "men in black" movies. >> does that come standard? >> it came with a black dude but he kept getting pulled over. >> really? >> there's always more content to be made.

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it's cindy. remember when olive was here last month? they just called last night and said the girl that won had to

forfeit her crown, and now she has a place in the state contest in redondo beach! >> "little miss sunshine" was where i first started with the ending and then reversed the rest of the story. >> one day i am at home watching tv and there's a child beauty papblg skpwrupbt i thought wouldn't it be great if an unconventional girl got up there and i know that's going to be a good ending! ♪ >> everybody in the theater was laughing at the same time and to me there's nothing else better than that. ♪ >> only movies can do that to get everybody in one room laughing together. it's like you are communing with

the gods, basically, the gods of laughter. >> i like you. i like sex. it's nice. >> borat is an interesting documentary. sasha plays a fictional character. >> my name is borat. >> good. good. i am not used to that. but that's fine. >> you can't measure the impact of putting that character in a real setting where reality and fiction and drama and comedy emerge in such an original way. ♪ ♪ people stop and staring -- >> and that's the break-through acting in modern times.

he had to have a lot of touch stones so he could do the performance because he's not acting with other actors and he's not on a set, and he has to pretend he is this character and they have to believe it. the second they don't believe it, the scene is over. a big part of the fun of the movie is he was robbing banks comedically, and when we were done the giddiness and was unmatched. >> what are you doing? >> streaking. we're going up to the gymnasium. >> who's streaking? >> everybody's doing it. >> get in the car now!

>> just hearing will's name puts a smile on my face. and here you go, here's will ferrell. >> sorry can't ride with you the rest of the way up, because this is where my dad works. oh, i forgot to give you a hug. >> he is very aware of where the laughs are and what the rhythm of the scene is. >> 8:00 a.m., santa is coming to town -- >> santa! oh, my god. >> he can flow with the scene and he can improvise as opposed to somebody used to reading off sheet music. >> ladies and gentlemen, can i please have your attention. i just have been handed an urgent and horrifying news story and i need all of you to stop what you are doing and listen. cannonball! >> i love "anchor man" so much. at that time it was a big deal

he was making a movie and it was his and adam's sense of humor and they are both "snl" guys, and it was everything wrapped in one. >> roger, where are you? >> in a glass case of emotion. >> he's got to have the stone. >> a lot of what we think of now as 2000s comedy is somewhere in "anchor man," whether you are starting with writing, producers, co-stars, cameos. but i think it was steering

comedy over the next. >> ready? >> yeah. >> oh, you [ bleep ]. i'm sorry, i'm sorry. it's just your job. >> i think that changed the landscape of comedy completely. >> i'm pregnant. >> what? >> i'm pregnant. >> with emotion? >> comedy is confused with the heart of jim brooks and the outrageousness that is going to kill it and bring the house down. ♪ ♪ i'll tell it to the world ♪ >> "bridesmaids" comes out and it's a real surreal experience watching that movie because you feel as though these are real woman. >> ew, you had sex with him. >> he had an adult sleepover. >> oh, did you let him sleepover

in your mouth? >> annie? >> sorry. >> you are unbelievable. >> he kept putting it near my face. >> they keep doing that, don't they? >> let us offer. if we offer -- >> that scene with kristin in the beginning, i am proud of that one in that i feel it captures their chemistry and you understand their friendship so quickly in their familiarity with each other. >> what is that? >> i got engaged. >> what? what? >> it showed female relationships in their entirety, and in their awful and unattractive some days i love you even though i hate you part of female relationships and it revolutionized the idea of what could be funny. >> you got food poisoning, didn't --

>> she's been fine. >> the poop scene was not even actually in the script. at the rehearsal, judd and paul came up with the idea saying what if you guys eat bad food and get the [ bleep ]. >> you see women being women in hard core comedy and that movie is unprecedented because of it. think of how many peoples' careers have been made by that movie. >> you want to get back in that restroom and not rest? >> no, i have to get back to my seat. >> yeah, you got to get back on my seat. >> mccarthy got an oscar nomination for that part because she's just a force of nature. >> good news. good news! i found his balls in the c sock. shove those back up there. >> oh, my god, melissa mccarthy,

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grew up hearing about it, but i never figured i would be going there.

>> with "avatar," james cameron wants to bring back the spectacle of a 3-d movie. he wants to make a movie that makes you have to see it in the theater. >> you should see your faces. >> studios were really in love with pre-existing intellectual properties. >> "avatar," it was an idea and it was original, and it was a 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 and everything felt tangible and it felt like this world existed. >> "avatar" came out and was the highest grow grow -- grossing

movie of all-time in cammeneron career. >> and then his wife directed a movie that could not have been more different. >> i want to know if they are going to leave a bomb on the side of the road -- >> in making "the hurt locker," what she did was make a war film as a suspense thriller. it was just one person go into the realm of danger. >> katheriryn bigelow is a mast of suspense, and she's 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. >> that's why they call it a suicide bomb, right? >> kathryn knows exactly what she wants and is incredibly inventive, and intrepid and never reckless. >> and our countdown to the oscars, kathryn bigelow would be the first ever to win the award. >> as we are getting towards oscar season, and the biggest rival was "avatar," and now there's this underdog quality and the milestone quality of bigelow being up for best director and that makes the movie an unstoppable force. >> well, the time has come.

kathryn bigelow! whoa. >> what is 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 the women in hollywood, and not everybody wants to carry that mantle. she's a filmmaker making films. >> the way the deal works is y'all are going to lose this place. you got someplace to go? >> i'll find him. >> girl, i have been looking -- >> i said i will find him. >> when it works, it is 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 is your only brother. >> you think i forgot that? huh? it's coming to 40 degrees and i don't know where he's at and i ain't going to go asking either. >> it gets the prize at sundance which is a great honor for a small movie and got a lot of oscar nominations. >> the film had this really compelling presence at its center, played by jennifer lawrence and this is the birth of an extraordinary career. >> i volunteer! i volunteer at tribute. >> i believe we have a volunteer. >> jennifer lawrence goes from

being a fresh face in "winter's bone" to the face of a massive franchise in the "hunger game" movies, and then an oscar darling like "silver lining playbook." >> that must have been crazy because i am so much crazier than you. >> keep your voice down. >> i am just the crazy slut with a dead husband. forget it! >> she was great. i love jennifer. her character was so powerful and strong. she did it so well. i didn't trust her before but i have to say now i do. >> now you like her, dad? >> i have to say i do. yep. >> when she wins the oscar for "silver lining playbook," it makes sense, she's somebody who is funny and witty and real who it seems like can do anything

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where are you? you are in a motel room and you just wake up and you are in a motel room. there's the key and it feels

like maybe it's the first time you have been here but perhaps -- >> "memento" is a film about somebody that lost their memory by guy pierce. >> i have told you about my condition? >> only every time i see you. >> it was an introduction to a filmmaker with a lot of talent. you see this guy having a great time making a movie and seeing what he can get away with. >> you said we talked before? i don't remember that. >> he i playing with chronology and structure and he's telling a tragic story and telling it through the eyes of a character who we know nothing about. >> me? yeah. i got a reason. >> i love chris's films.

it's rare to occupy a place where you are so sin tau matt klee popular at the same time. >> it's always risky to bring back a film and make yet another story, but owen 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. ♪ >> he gave the batman story a mythical dimension but also a very gritty in the moment kind of reality. >> what? >> what? >> he knew what he was doing in casting christian bale and

making it a realistic look at batman and a look at how this wealthy kid could become the "dark knight." heath ledger chose to play the joker as a psychopath in a way that raised the stakes for the entire property. >> i knew it was open for a fresh interpretation and i had something up my sleeve, which happened to be exactly what chris was looking for. >> the joker has always been a somewhat ambiguous character but what he did was make him truly

benevolent. >> there's a scene in the movie where the joker has stolen billions of dollars and he burns it all because it's meaningless to him, he just wants to create chaos. >> all you care about is money. this town deserves better and i will give it to him. >> heath ledger 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 legitimize the superhero so much, they always ruin the affect that nobody probably sees coming, where studios are like, this is great, this is the backbone of our box office strategy from now on. >> for your consideration -- >> when i was hired to do "ironman," i liked the idea it

was an older character and it was not somebody who had a history of being an ordinary person and not super human. he was a successful man in life and kind of unlikable and having a crisis of conscience, and the big thing that made it all work was the casting of robert downy jr. i think without him we would not be talking about that movie. >> let's face it. this is not the first thing you have got me doing. >> anybody who was a robert downy jr. fan, which i was from the beginning, it was a no-brainer, and everything lined up. they got it right. >> our collaboration along with everybody who worked on "ironman" create add template

for the tone and the sensibility and the way the marvel universe could be reflected in an accurate way of what stanley had come up with. >> the idea of so many superheroes in one movie, this has never been done before. >> the avengers made the most money in one weekend alone. >> how has there been another cinematic experience that is intricately written as the marvel universe. they have done a terrific job of how these guys have evolved even with different directors and writers. >> the new brand, and marvel is arguably the biggest star in the history of movies and i would

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>> look at that. these people don't know what you are capable of. >> i had been a huge admirer of

alejandro's stuff, and "birdman" was as joyful of an experience of making a film. >> popularity is a bloody little cousin of prestige, my friend. >> i don't know what that even means. >> i don't know what was in the water around mexico city, but alejandro, that's a pack of talent there in modern film. >> during the writing process we keep on sharing our screen plays and being brutally honest with each other and then in shooting we are like support groups and we suffer so much that we need to talk to somebody who suffered more. >> they don't come out of a void. they bring a very special perspective which has evolved

over a long period of time. >> lthey may not have known wha he was doing. this is a movie that combines his fascination with hor aror a puts it with fairy tales. >> the universal monsters, of course, are cinema history and so much inspiration comes from those old movies. >> i can see the love of these monsters in his films and you can hear what he talks about it, and it's special. "shape of water" is clearly his

creature from the lagoon. >> he is an appreciator of the old school movie making. never lost the 12-year-old geeky fan boy within himself and i think that's why audiences can relate to his work so much. ♪ >> what you are seeing is a lot of directors using established genres to do something that is very audio sin kratic. he can make a movie that has to be seen on the big screen but it's really an intimate movie.

>> i don't know, we're all going to die, but i am going to die today. funny that, you know, to know, but the thing is that i am still scared. i'm really scared. >> alfonso is a smart director, and he does all kinds of films. >> the one thing about "children of men," you had small and personal relationships in the middle of the utopian future, and the continuing species. >> people found it and almost immediately and recognized what a powerful work it was and when you talk about the pbest films f the 2000s, it's always in that

conversation. >> she's pregnant. >> yeah, i know. it's a miracle, isn't it? >> with his long time sin ma c photographer, they talked about so many filmmakers in "children of men." it was like doing a set piece. they were really driving a car and there were really fires on the hill and the camera would move overhead, and i think as actors, it was really exciting.

the camera just manages to effortlessly flow to wherever it needs to be. and you think, how did he do that? it's the directing and work and they compliment each other so beautifully. here they understand that film should be an exspearenceal medium, that you can feel that you are in some sort of horrible story in the midst of a rugged wilderness. >> it pulls on your heartstrings and pulls your heart out and then you are gutted by his films, but you can't look away.

>> jesus christ, what happened? >> they are these emotional personal films that really, i think, energize film in general. >> alejandro -- >> tonight's big winners included director for "the remnant," and he won last year for "bird man" and it's the first time a director has won back-to-back oscars in 60 years. >> these are the guys everybody is talking about and these are the movies that are exciting people and moving story telling forward, and they won best director five of the six years in the running.

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♪ >> "12 years a slave" is a sophisticated representation of slavery which had not always been the case. there's a very checkered history between slavery and cinema, and this film, i think, got it right. >> help me! help me. somebody, help me! >> it was based on a true story of a free man that is kidnapped and put into shraoelavery and identify mate people pay attention in a different way. >> i ain't got no comfort in this life.

i can't buy mercy from you, i'll beg it. >> it's not the easiest film to watch, as no steve mcqueen movie is. he's such a great director and particularly in his ability to present it to you in this cold reality which ultimately is frightening but that speaks to how compelling a film steve mcqueen is able to create in 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 that achievement in "salma" is so special and powerful is that she knew you could not tell martin luther king jr.'s story in its entirety in a two-hour motion picture, and you instead pick a moment in their lives that speaks to the kind of person they were. >> summer it is. >> "selma" does a good job of not only humanizing martin luther king jr. 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. ♪ ♪ you masters of war ♪ you that build all of the

guns ♪ ♪ >> black cinema goes in cycles. it's not the first time i have 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, and how many "straight out of comptons," and it's the type of stories that are getting told. >> give me your hand. >> let your headrest in my hand. relax. i got you. i promise. i am not going to let you go. hey, man, i got you. >> it follows this character, we see him as a child and as a teenager and as an adult dealing with what it means to be black and gay in america.

knowing how you have to operate in a world that still denigrates you. >> i have been waiting for your [ bleep ]. >> 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 become part of the baggage 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 stories, and you want people of color to tell their own stories. it literally is kind of changing the complexion of hollywood. >> hey! >> ryan first gets attention

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

>> the leap this guy has made to "creed," and then escalates it again in "black panther." >> you think this is a funeral? >> it came very apparent this film was going to be a game changer. the appetite for this movie was huge. >> we are excited because we get representation in a film that is not about slavery, that's not about trials and treibulations, but about a powerful african-american. >> when you finally get it, you -- people went to see this movie over and over again. and my uncle and aunt who had not been to the movie in 20 years, they were like, we're going. ♪

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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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-autobiographical 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. >> sean baker is a very inventive, independent filmmaker. he was first on my radar screen for the movie "tangerine," which he shot entirely with an iphone and which captured women in a

trans community in los angeles. >> the world can be a cruel 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. you know, what is the greatest horror in this country? racism. so now you have "get out" and you have an interracial couple going to meet her parents for the first time. >> so how long has this been going on, this -- this thang? how long? >> if you take the idea of 400 years of american racism and this constant sense of the 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.

imagine what it was like back when the rolling stones would shock parents everywhere. my, how times have changed. >> i see hustling. i see killing. that's what i rap about. >> you can take me out of the ghetto, but you can't take the ghetto up out of me, though. >> it's a tough time to grow up in. and nirvana and kurt cobain in particular reflect the angst. >> i learned how to write for myself, and it's pretty ironic that most people related to it. >> boom, there it is, platinum record. >> country music has taken over the airwaves and the record charts. >> the honeymoon's over. now we're getting down to real commerce. >> aren't these girls just crazy? >> yeah, they are. ♪ ♪ ♪