"goodfellas" is like i'm going to kick the shit out of you for two hours and you're going to love it. >> there have been so many mob movies. is it possible in 1990 martin scorsese will have a gangster movie that will have something to say that hasants been said a million times and you watch the movie and you're like yeah. >> what are you doing? >> we try to capture the exuberance of that world. it's dangerous and threatening but they're having a wonderful time. >> this is mr. tony over there. >> "goodfellas" was the nuts and bolts of the mob. the mob as a job. >> what do you do?

>> i'm in construction. >> and the balance of the two families, your mob family and real family and the way they start to bleed into each other. >> are you all right? are you all right? huh? >> "goodfellas" was based on the book called "wise guys." and i thought what if i play this guy jimmy dechant. >> are you being a wise guy with me? what did i tell you? you don't buy anything, you hear me? don't buy anything. >> it is a true story and the true nature of that lifestyle. >> you have to be clever enough, let alone have the audacity, the discretion. but not being afraid of the violence. >> this is for you. atta boy. >> you could be enjoying and

then suddenly somebody gets shot in the chest. >> what's the world coming to? [ gun fire] >> then it's not fun. and there is a price for everything you do. >> all right. you all know the drill. >> in the 90s there's a host of movies where people operate outside the system. we love the outlaw. one of the reasons we go to the movies. >> merry christmas. >> merry christmas to you, officer. >> you go to see people who violate the mors of society. >> in the '90s we were really rooting for criminals to get away with it. we wanted the bad guys to be the good guys. it was really an era when the antihero was on the rise. >> do you have something against

ice cubes? >> i like rough edges. >> the character's a socio path. and sociopaths are as dangerous as that character is. when i played the part, i needed to understand the socio pathic mind. and that is a very scary thing. >> "silence of the lambs". i remember waiting with baited breath for it to come out. nothing prepared me for how she shot walking to meet hector. this is a horror film that is also an actor's piece. >> closer. told by the close-up master of all time.

the tension t just kept rising and rising. >> don't most cereal killers keep trophies from their victims? >> i didn't. >> no, you ate them. >> it's about this dance between clarice sterling and hannibal lector. >> and manages to take elements of the horror movie and even the gothic iconography and turn it into a thriller. >> you still wake up, don't you? wake up in the dark and hear the screaming of the lambs? >> "silence of the lambs" becomes one of three films ever to win best actor, best adaptive screen play and best alktder for hannibal lector with maybe 16 minutes of screen time. >> how come i didn't let you go? >> because i didn't ask him.

>> the thing i love so much about "thelma and louise" is that was a dprat love story between two women. >> these two friends decide to get away and things get off the rails really quickly. >> shut up. >> please don't hurt me. >> as hole, i'm going to splatter your ugly face all over this nice car. >> i was driving home one night and it hit me two women go on a crime spree. it wasn't just that idea. i saw the whole movie in one flash. >> bam, you're a -- >> i think he's going to -- >> nah, i don't think so. >> it's an odyssey of two women on their last journey. they didn't know it was the last

journey, therefore the journey had to be magnificent. >> i know what they're going through, i understand the choices they made. >> let's keep going. >> what do you mean? go. >> they look at each other and they both knew. >> you sure? >> kind of the culmination of both of our lives and we have no choice. let's go. can't imagine the movie would have had any power lat had we not ended it that way. >> i have no enemies here. >> yeah? wait a while. >> shawshank redemption" is a perfect prison movie. you need a warden who's corrupt. claus ruphobia.

want to make the audience feel like they're trapped. and then there has to be hope. >> little rejection present. >> somebody has to hope -- >> a great love story of two men spending 20/30 years in prison getting to know each other. >> icing is on the outside i was an honest man. straight as on a arrow. i had to come to prison to be a crook. >> watching each other's lives rotate through this system. >> "shawshank redemption" is about seeking justice in an imperfect world andh the convicts win, you have a sense of relief and that somehow justice has been done. ♪ try to make it real sock it to

me ♪ >> in vegas everybody's got to watch everybody else. >> it was the story of two men and poor sharon who's thrown in the middle of it. >> working for maury is a great thing. he's encouraging and so present with me. >> can i trust you? answer me. can i trust you? >> sharon stone was in the great tradition of crawford and the great divas. and i had to learn how to bring out what i needed through her. >> because marty his films are so daring and the violence is so violent and because everything you do is so true, you have to be really willing to kind of let

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

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

>> you are our new champion for $20,000. >> and that cruelty was something i wanted to show. the power of money and personality. so to me, that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us, land right on top of us. 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. >> what happened to your face? >> i have aids. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension with people with aids. >> how did they find out you have the aids? >> one of the partners noticed a lesion on my forehead. >> so as his character spends more time with tom hanks, we're starting to see him as more than his sexuality or his disease. >> let's get it out of the closet. because this case is not just about aids, is it? so let's talk about what this

case is really all about. the general public's hatred, our loathing, our fear of homosexuals. >> he can bring the audience on that journey to say we don't need to fear people, we don't need to stigmatize them. >> my name is forrest gump. >> it's a very rare thing for me to read a script and not be able to put it down. >> "forrest gump" is a marvelous look at how history happens. >> forrest gump, john lennon. >> it's a delightful play on the contingency and accident that shapes our world. >> we were the first americans to visit the land of china in something like a million years. 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 magnificent comedy actor. i can't think of another actor living or dead who could have ever done that part. >> by the 1990s, the median age of the people who served in world war ii was around 70. they were growing old and they were disappearing. and there was a powerful sense of nostalgia. and we saw a lot of retrospective looks at aspects of world war ii. this was the time when people started talking about the greatest generation. >> "saving private ryan" was a film i was going to make someday in my life. my dad used to have his band of brothers from the air corps come over to the house every year. the first time i ever heard grown men cry was at these reunions. it was all about the trauma they

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

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

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

empathy. instead of being just one who gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more. i could have got more. >> the totality of the meaning of that film, the fact that it created awareness in the world of an era in history that had been forgotten, that it denied the deniers, it allowed us to mean it when we said never again. "schindler's list" was the greatest experience i had as a filmmaker.

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♪ then put your little hand in mine ♪ "groundhog day" was a very character driven comedy. the bill murray character just keeps waking up. >> hey, phil? >> having to relive the same day. >> now, don't you tell me you don't remember me because i sure as heck fire remember you. >> not a chance. >> ned! >> usually when there's some

kind of strange convention, it's explained. >> phil connors, i thought that was you. >> you're in a time machine or somebody cast a spell. >> phil connors! >> but this just happened. and nobody minded. >> phil connors. >> ned? >> the movie is perfect. it's also so obviously for bill. >> bill, like the groundhog bill? >> yeah, like the groundhog bill. >> look for your shadow there, pal! >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> oh, thank you, young man. >> it's nothing ma'am. i had the tire and the jack. just be comfortable, all right? >> to me, bill murray is one of

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

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

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

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

acclaimed as it should be. it was not a big hit. but there's so much modern comedy in that movie. it was wonderful. >> just a moment. >> "office space" did such a great job in completely lampooning office life. technology had made these cubicle lands, and "office space" really captured that. >> i might take that new chick from logistics. if things go well, i maybe showing her my "oh" face, you know what i'm talking about. >> jennifer aniston was in it and she worked at a place like tgif's. >> 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. >> this is my expressing myself, okay?

♪ teacher's pet, i want to be teacher's pet ♪ ♪ i want to be cuddled and cuddled as close to you as i can get ♪ >> christopher guest is considered the master of the mockumentary. he comes up with characters that are profoundly silly. >> when we were on "snl" chris did a movie with marty and harry called "synchronized swimming." >> i've been doing "shakespeare in the park" and 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. not really much to call my own. and then basically being slammed down for ten or so years, you know, off-off-off-broadway and then enough is enough, okay, i get the joke.

>> chris surrounds himself with great, funny people. eugene, fred willard, catherine o'hara. >> so nervous. >> you're going to be great. if there's an empty space, just say a line, that's what i like to do, even if it's from another show. >> chris works in miniature. he's very much like peter sellars, such fine taste. >> i just hate you and i hate your ass face. there he is. oh, wow. you're doing, uh, you're doing really great with the twirling. dad, if you want to talk, i have a break at 3:00. okay, okay. i'm going. i'm gone. like -- like i wasn't here. [ horn honks ] keep -- keep doing it, buddy. switch to progressive and you can save hundreds. you know, like the sign says.

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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 nose movies didn't speak to where i was coming from. >> whoa, we didn't ask you that. >> i decided to have a black cop be more than the white partner in the scenes where he's encountering the black residents. >> something wrong? >> something wrong?

yeah. it's just too bad you don't know what it is. >> the same black cop encounters tray years later when he's a teenager and profiles him. >> i didn't do nothing. >> you think you're tough. you think you're tough, huh? oh, you're scared now, huh? i like that. >> singleton was nominated for two academy awards, best original screenplay and the youngest person nominated for best director. >> it was an era when a lot of people were paying 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 dead brugtarothers instf one. >> he's a phenomenal actor. we had a similar vision of what we wanted to do as young men coming into this whole entertainment world together. my attitude was, i got my robert de niro, i got the dude i want to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. >> tupac, ice-t, ice cube. >> they were also storytellers. when it came time for them to go to hollywood, they were all convincing on screen. >> craig. craig. >> hold up. i gave him a heartbeat. >> man, that's what it's supposed to do. >> it's one of those films that made me excited about being in the film industry. >> cube at the time transitioning from music into filmmaking. the way it got sold at sundance.

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

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

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

fruit bubbleicious. >> and will smith is that guy. >> i would say that tom cruise is the first person to figure out the power of using the international box office to turn yourself into the biggest star that anyone has ever seen. will smith looked at that and said, that's what i'm going to do the same thing. he made a movie with sciify aliens and that's 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. ame you. the most reliable. the most awarded. the best, the fastest, the best and the fastest. it's too much. sprint's doing things differently. they're offering a 100% total satisfaction guarantee. i mean i think sprint's network and savings are great.

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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 are we doing? what scene are we doing? he said i don't know. i looked at garry, he says be funny, action. >> well done. >> did we think it was going to be a huge success? not necessarily. >> hi. do you remember me? yeah, i'm sorry. i was in here yesterday. you wouldn't wait on me. >> oh. >> you work on commission, right? >> uh, yes. >> big mistake. big. huge. i have to go shopping now. ♪ pretty woman >> "pretty woman" makes julia roberts a major star. that smile, that interaction with richard gere, that improvised little thing with the jewelry box and the pearls in it. >> garry said just touch it. it's the most amazing thing you've ever seen. and he said to richard like just -- >> oh! >> we fall for her and we fall

like a ton of bricks. >> it's the bride and the woman she'll never live up to. >> she rises through the decade but then really ends it with three mega rom comes. "my best friend's wedding." "runaway bride." and "noting hill." >> can i help you at all? >> 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 holds a real performance and the comedy and the physical comedy. and some thread of love that 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 especially adept at the form of the romantic comedy. you have sandra bullock, you have hugh grant, you have meg ryan, and you have tom hanks. >> she made everything beautiful. it's just tough this time of year. and any kid needs a mother. >> could it be that you need someone just as much as jonah does? >> yes. >> nora efron prepared movies like no other director i'd ever worked with. we would work for weeks prior to the beginning of shooting. every line was specifically found or written or perfected.

>> it was my magic. >> nora ephron was unafraid to take something that felt familiar but then cover it in unfamiliar territory. >> you have sex with her, huh? >> i don't necessarily hope so. >> did she scratch up her back? >> what? >> in movies women are always scratching up the men's back when they're having sex. >> how do you know this? >> jed's got cable. >> this movie was about a widower. that he i thought was a brave choice. you saw people on screen working on a problem that weren't necessarily from the traditional american family. >> i left it by the telescopes. >> the great thing about nora 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 begins where an '80s movie ended. >> jerry maguire. >> went right to tom cruise. he calls 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 -- >> and basically, i've been geeking out over his performance ever since. >> i'm jerry maguire. how are you doing? >> jerry maguire. >> yeah, how are you doing? >> how am i doing? i'll tell you how i'm doing. i'm sweating, dude. >> cuba and tom just like deliriously happy actors. >> show me the money. >> they were just like landing blows on each other.

>> jerry, 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 because it's this young single mom with this precocious little kid. >> did you know your head weighs eight pounds? >> 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'd read that in the script and thought, fantastic. there were other times, is this too cheesy? and i told tom that. and he said, just give me a shot at it. if you don't want to use it, don't use it. >> i love you. you complete me.

i'm not just -- >> stop. just shut up. you had me at hello. you had me at hello. >> i look around, everybody's crying. the grizzled guys holding cable are like -- [ sniffing ] and i was like, i think it's going to work. is changing things up. with an app that's changing the way we do money. download robinhood now.

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this guy's going through all the eggs. he said he has to find the perfect dozen. >> perfect dozen? >> yeah. each egg has to be perfect. >> in the '90s you could feel this excitement that there was something happening here. that started to become a genuine independent film movement. and sundance film festival, sundance institute, had everything to do with it. >> the idea of starting sundance was that i felt that i'd grown up being a part of the major film industry because that's all there was. and i was fairly fortunate to be part of that. but as time went on i became more aware of other stories that could be told. . they'd be told by people who were less inclined to be commercially attractive.

they were different. they were offbeat. but they were stories that i felt should be told. >> women are lonely in the '90s. it's our new thing. we'll live. >> they weren't looking at who made the movies. they were looking at the movies. they had the 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 main line hollywood. >> say, man, you got a joint? >> uh, no. not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," "dazed and confused" was this complete euphoric look at young people before they have to become adults.

>> there's other high school movies. there's a million of them. but there's very few that really gives you an honest depiction of that time in your life. >> whoo! y'all ready to bust ass? >> and you see all these fantastic actors who 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 linklater cast all these fabulous girls. >> seniors. >> those characters i adored. they just felt like real girls to me. >> let me tell you this. the older you do get the more rules they're going to try to get you to follow. you've just got to keep living, man. l-i-v-i-n. >> the beauty of linklater is his touch. it's the lightest touch. it's lightning in a bottle. >> all right, everybody cough up some green for my old lady.

come on, throw in a buck. >> uh-uh. i don't tip. >> you don't tip? >> no, i don't believe in it. >> you don't believe in tipping? >> i was banging around trying to be a writer and a filmmaker, and i read "reservoir dogs" and i thought it was clearly written by somebody who was 67 years old and had kind of gotten out of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us, that allowed us to discover quentin tarantino. >> who cares what your name is? >> that's easy for you to say. you're mr. white. you have a cool-sounding name. look, if it's no big deal to be mr. pink, do you want to trade? >> hey. nobody's trading with anybody. this ain't a goddamn [ bleep ] city council meeting, you know. >> it was clearly focused on violence, which was very prevalent in our country. for me it was kind of a breakthrough moment. >> 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 them, vincent. >> royale with cheese. >> royale with cheese. you know why they call it that? >> because of the metric system? >> check out the big brain on brad! >> "pulp fiction" was this fever dream of a screenplay, and it was the screenplay itself that was this wild hairy bug. it was like a tarantula on the door-stop. you just had to look at it. my god, look at the size of that thing. >> that's an impossibility. trying to forget anything as intriguing as this would be an exercise in futility. >> is that a fact? >> and 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, the way you can make film. >> die you [ bleep ] -- [ gunshots ] >> you constantly had to pay attention. you had all these characters who were somehow connected. you only started to figure it out as the movie goes on. >> i love you, pumpkin. >> i love you, honey bunny. >> everybody, this is a robbery! >> you know a tarantino film the minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ it's the same thing every night ♪ >> "swingers" came out of this '50s nostalgia culture in l.a. people were part 1/2 it kind of became a phenomenon. >> so what do you guys do? >> i'm a comedian. >> when i started writing "swingers" i didn't know that it was going to be a movie or a full script. i was just having fun writing

stuff that i got a kick out of and then i just 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 everyone's really hoping makes it happen. i want you to be like the guy in the rated r movie. you know? the guy you're not sure whether or not you like yet. you're not sure where he's coming from. okay? you're a bad man. you're a bad man. you're a bad man. bad man. >> it was sort of that indy comedy sensibility. and of course we were influenced by kevin smith and tarantino and scorsese. when the movie finally came out, it hit the culture in a big way. >> see, baby, it's not that hard. >> 818? >> 310. >> nice. i don't add up the years. and i don't count the wrinkles. but what i do count on is boost high protein. and now, introducing new boost women... with key nutrients to help support thyroid, bone, hair and skin health. all with great taste. new, boost women. designed just for you.

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♪ applebee's new irresist-a-bowls now starting at $7.99. now that's eatin' good in the neighborhood. animation was disney's brand, but in the early '80s they were really adrift and "little mermaid" was the hit that showed what these movies could do. ♪ part of your world 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. ♪ souffle ♪ i am putting on flambe ♪ we'll prepare and serve with flair a culinary cabaret ♪ >> the disney studio reexamines the tablets of pinocchio, 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 circle of life >> "the lion king" is interesting because it's a very old tale that's been retold in different ways. but it emerged as something

special and i think became bigger than the sum of its parts. ♪ hakuna matata ♪ 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 to be king people were ready for that kind of story of that kind of epic scale. and you can see the beginnings of cg in the background for certain 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 mean, i remember going to see "toy story" and i went and saw it twice. >> there seems to be no sign of intelligent life anywhere.

>> hello. >> ah! >> 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. >> excuse me. 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. >> getting kind of tense, aren't you? >> when i saw "toy story" i was blown away. >> impressive wing span. very good. >> the technology for me was nice and interesting. but that wasn't what blew me away. what blew me away was that here were new characters. >> to infinity and beyond! >> the film was contemporary. it was not a musical. and it was done with all of the sincerity of the walt era. >> you actually think you're the buzz lightyear? oh, all this time i thought it was an act. hey, guys, look! it's the real buzz lightyear! >> you're mocking me, aren't

you? >> anyone wanting to study screenwriter should watch pixar movies. i just think they're beautifully, beautifully written. >> well, if you knew him, you'd understand. you see -- >> let me guess. andy's a real special kid. and to him you're his buddy, 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 it's how he sees you. >> you absolutely believe these characters had an internal life. they felt like being a toy was a job that they were proud of. that was just a brilliant premise. and it was executed perfectly. ♪ oh, somewhere deep inside of these bones ♪ ♪ an emptiness began to grow >> there's something that's so beautiful about bringing an inanimate object to life. drawing animation is the same

thing. but there's something about stop motion that's just so pure and strong. ♪ what's this, what's this ♪ there's color everywhere ♪ what's this, there's white things in the air ♪ ♪ what's this ♪ i can't believe my eyes i must be dreaming ♪ ♪ wake up jack this isn't fair ♪ what's this >> tim burton has managed to take the most macabre things and make them so fun and so heartbreaking and beautiful. no one has that aesthetic. you don't have to wonder for ten seconds if it's a tim burton film. >> i have a present for you. >> "edward scissor hands" is kind of a frankenstein story. it's vincent price who plays his father who creates a boy but dies before he can put his hands on. >> "edward scissor-hands" was a concept tim had brought to life through a concept drawing. i've seen tim draw a character with two strokes of a brush and you knew who they were.

>> look. >> to make it a five-run inning. and blow this game to pieces. >> i'll be darned. >> with tim and his characters there's always a real connection with him and johnny depp. >> there's kind of a way of speaking without speaking and communicating. which is why he was edward scissor-hands. kind of goes back to silent movies where people could communicate with your eyes. i feel some connection to him or winona ryder. something about the intensity and gaze. it's like film acting. >> so are we going to be working together? really? worst film you ever saw? well, my next one will be better. hello? >> "ed wood" is such a sweet movie, and yet it's not at all cloying. it's just completely cool and crazy. >> he's a monster. can you imagine what that guy would look like in a movie?

>> johnny depp plays a real-life character ed wood who's famously known as the worst film director of all time. >> his character's so perfect. you just love him for his enthusiasm. >> prepare for scene 32. >> mr. wood? where's the cockpit, sir? >> you're standing in it. places. >> ed wood when he was making "plan 9" thought he was making "star wars." we all feel that. every time you bark out a movie it's going to be the greatest most amazing thing. >> "ed wood" was not made as a joke. it was lovingly made in appreciation of what that guy had done. >> these actors, artists, they really love their craft, and their kind of weird sense of sort of family you get in film. this film felt very close to me. it just 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. hey hun, we don't need to do anything special for valentine's day. okay.

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go. go home. bad wolf. bad wolf. >> when you think of the '90s, you do think of actors in the director's chair. you think of kevin costner. you think of jodie foster. you think of mel gibson. and you they of clint eastwood,

who finally gets his due in the '90s. [ gunshots ] >> "unforgiven" is a miraculous film in many ways. the legacy in eastwood's case of all the spaghetti westerns and the westerns and the dirty harry films is landed on this moment of frailty. >> my agent called me, says clint eastwood has 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. >> i remember there was three men you shot-l 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 are sick of violence, they don't want to do it anymore, but they

get dragged back into it. >> i killed one of the children. kill just about anything that walks or crawls at one time or another. and i'm here to kill you, little bill. for what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick. he's decisive. it's beautiful. >> there are directors in this period like michael mann who are the rebels. within the studio system. the guys that are just doing it differently. >> what am i doing? i'm talking to an empty telephone. >> i don't understand. >> because there's a dead man on the other end of this [ bleep ] line. >> "heat" provides us an opportunity to finally see robert de niro and al pacino on screen together doing a scene together. >> what do you say i buy you a

cup of coffee? >> the scene in the diner all three of us, bob, al, and myself, new was the nexus to the whole film. >> you know, i've chased down some guys looking to bust it back. and you? i worked all kinds. >> it's one of my favorite scenes between these two guys. they finally come together. and i think we did a good job with it. >> i do what i do best. i take scores. you do what you do best. trying to stop guys like me. >> they are not taking their eyes off each other. it's almost reflexive. >> i will not hesitate. not for a second. >> people want to see great actors. tell me the truth. guys like michael mann will always punch you in the gut. they will go make a movie that would be counter to everything everyone else is doing but it would have truth in it. >> you want your own wife kidnapped? >> yeah. >> i think "fargo" is a perfect movie in every way.

the screenplay is perfect. the execution of it is perfect. the performances are absolutely perfect. [ phone ringing ] >> it was written for me. i got very excited. they said -- joel, you know, came home from work and said we started working on something, there's a part for you. >> we got a shooting. these folks drive by. there's a high-speed pursuit. ends here. and then it's execution type deal. >> joel and ethan's scripts are publishable works of literature. for example, the scene in "fargo" where marge is interrogating the two strippers. >> hey, they said they were going to the twin cities. >> oh, yeah? >> yeah. yeah. is that useful to you? >> oh, 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 ethan and joel coen for "fargo."

>> the oscar goes to frances mcdor mand, "fargo." >> "fargo" is the coen brothers film that really gets embraced at the academy awards. everyone loves this movie. so what do they do? they do something completely different. >> sometimes there's a man, well, he's the man for his time and place. >> "the big lebowski." one miff favorite stories is how long it took jeff bridges to agree to do it. it was so good. joel and ethan wrote it for him, sent it to him. he said it's great, not sure i can do this. i just remember, you know, them thinking, how could he not? obviously he came to that conclusion himself. >> let me explain something to you. i am not mr. lebowski. you're mr. lebowski. i'm the dude. so that's what you call me. you know? that or his dudeness or duder or, you know, el duderino if

you're not into the whole brevity thing. >> 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. >> maude? >> love me. >> that's my robe. >> "big lebowski" is the most quotable movie of my generation. >> that rug really tied the room together, did it not? >> [ bleep ] a. >> the coen brothers are subversive filmmakers. they're revolutionary bomb throwers. but you kind of 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. i think by exploring the genre then they subverted it. >> jack warner, filmmaker. >> really? >> yeah. i make adult films, exotic pictures. >> where i grew up was the porno

capital of the world, san fernando valley. so i would know what a regular film shoot looked like and then i would know what the difference was when it was like a van. that's where "boogie nights" came from, a world that i knew really, really well. funny enough. >> whose dirk diggler? >> that's a new one, good-looking kid at the club. >> when i got paul's script for "boogie nights," i called my agent, said are you punking me? it was an x-rated script. he said no, it's going to be r. i said no, it's not. there's copulating 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 all of that. >> i'll ask you, okay? and you say yes. okay? are you my mom? >> yes. >> she kind of assumes the

mantle of parenting in this world. i mean, she's not actually taking care of them. she's play-acting. >> what we're talking about, then, is coming to an agreement on the custody of amber. >> the thing that i really love about the scene as she's kind of fighting for custody, the judge turns to her and says maggie, have you ever been arrested? >> when was the last time you were arrested? and what was the charge? >> cut to outside and amber sobbing. because that's just it. she's somebody who's not responsible enough to parent. >> you don't have to be interested in pornography to be interested in broken people. they've been rejected by their family. they don't have a family. the moral center of the movie is about all these broken humans trying to make themselves whole by finding a stitched-together family when they don't have an actual family of their own. >> paul thomas anderson has never made the same movie twice. whenever you see a paul thomas

anderson movie, like stanley kubrick, you know it's a paul thomas anderson movie. i'm not sure there's a higher compliment you can pay to a director. his imprint is on his films. >> oh, come on, frank. what are you doing? >> what am i doing? >> yeah. >> i'm quietly judging you.

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"the piano" was ravishing and also uncompromising. >> it's a really visceral movie. you feel the weight of the fabric, the dampness of the air and the moss. and it's so inherently jane. >> jane campion is a filmmaker from new zealand who shot this very intimate movie in her home country starring holly hunter, harvey keitel, and a very young anna paquin. >> it was a kind of intimacy that jane pulled us into as 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 campion. she won the palm d'or at cannes and became the second woman to be nominated for an oscar for directing. >> the '90s was the best time for women directors. they infused a kind of sensibility that made it really enjoyable. you were hanging out with other filmmakers saying wow, how many movies can i make? how many women can i work with? >> you still haven't figured out what riding waves is all about, have you? it's a state of mind. >> they don't want to be acknowledged as a female director. i fought my whole career to be acknowledged as a filmmaker, not a black filmmaker.

i'm sure a lot of those women are sig don't call me a female director. i'm a director. >> i'm a bad therapist. do you hear me? i am a bad therapist. i'm making these people worse. >> "walking and talking" was inspired by the time my best friend was getting married. >> so fake-looking. looks like a barbie ring. >> they were a perfect match. i loved them both. but i felt very lonely. >> it's not fake. frank gave it to me. and i thought that was funny. >> we're engaged. >> yeah. >> we're going to get married. >> 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 karen's going out with a high school boy. they're like dogs. you have to clean them and feed them. just like these nervous creatures that jump and slobber all over you. >> ew! 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 who taught debate, and he let me hang out in his class. and and so you heard the vernacular. >> in conclusion may i please remind you that 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.

but i sound like i do. >> even though cher is this like heightened fantastic perfect gorgeous aspirational creation, i think amy heckerling still is able to see her as a real girl. she doesn't turn her into just a punchline. >> can i just see the beginning again, folks? >> in "a league of their own" penny marshall looks at the role of women, the changing role of women in world war ii. >> girls can't play ball! >> but men were fighting on the battlefields, but there was still a hunger for professional baseball. >> ellen sue gotlander. >> "a league of their own" is about women baseball players. >> it's iconic. and the lines are iconic. and the performances are iconic. >> we told them it was their patriotic duty to get out of the kitchen and go to work. and now when the men come back we'll send them back to the kitchen. >> what should we do, send the boys returning from war back to the kitchen? >> "a league of their own" was a

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i love the original "terminator" but the sequel xblw it out of the water as far as i was concerned. that chase in the l.a. river with that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom. he's here to help. it's okay. >> it's got heady ideas about time travel and about the space-time continuum, all that kind of what sounds like fancy sci-fi palaver. but it's also a story about being relentless.

jim as a filmmaker is relentless. >> when james cameron got to "t2" he was interested in expanding his palette. particularly to include these new digital tools. it was wildly groundbreaking. cameron was working with industrial light and magic. >> hasta la vista, baby. >> 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 just 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." >> boy, i hate being right all the time. >> 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 these brontosauruses 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. he makes you go -- [ gasps ] >> a lot of the enthusiasm for cgi comes from filmmakers seeing in "jurassic park" what that technology could do for their storytelling. >> "titanic" is a throwback in so many ways to the big blockbusters of the '50s and '60s. not just in its scope and in its scale but also that it was talked about in the way we talked about cleopatra. oh, god, we're putting everything we have into this giant boat and is it going to sink? >> its budget at that point hit a then unheard of $200 million. >> leo dicaprio had done with the what's eating gilbert grape" and his "romeo & juliet" had not come out yet. so there was some nervousness on the part of studio executives,

like can leo dicaprio do this thing? the studio thought they were in terrible, terrible trouble. it was going to be an enormous disaster. and it turned out to be the biggest movie of all time. >> i'm the king of the world! whoo! >> "titanic" really had everything. it was an epic old-fashioned movie. >> iceberg right ahead! >> an action movie. it also had a love story at the heart of it. >> i'm jack dawson. >> rose. >> it was irresistible. jack and rose. and it was sexy. leo was absolutely gorgeous. kate winslet really captured that independent woman who would not be pinned down. and they were just this vivian leigh-clark gable kind of pairing. >> i'm flying.

>> "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 '97 the world goes computer. >> you have to let it all go, neo. fear, doubt. and disbelief. free your mind. >> "the matrix" changes everything. you have the embrace of eastern cinema into western canon. and you've got them making their actors do the stunts themselves. kea keanur reeves had already

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

you have this really interesting combination of young filmmakers swinging for the fences and showing people what they could do. as well as more established figures like the insider just kind of finding a new gear. >> i have to put my family's welfare on the line here, my friend. and what are you putting up? you're putting up words. >> words. while you been dicking around some respect golf tournaments, i've been out there giving it my word and backing it up with action. >> i'd stack '99 up against any year in terms of filmmakers dropping significant work. >> not wasting any time are you, tracy? >> well, you know what they say about the early bird. >> yeah, i do. >> "election" is the second move of alexander pane. reese witherspoon is tracy flick. she's someone you almost want to root for because of her passion and her drive. and yet, also, she has a little

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

and murdered him. >> boys don't cry was a phenomenal movie. no studio would have made that movie. it was a game changer in terms of american cinema in terms of what was made before and what was made afterwards. >> 1999 was just such a great year in independent cinema. you look at that lineup of films from "virgin suicides" to "three kings." >> there is a tiny door in my office, maxine. it's a portal and it takes you inside john malkovich's eyes and then you're spit out into a ditch on the side of a new jersey turnpike. >> spike jones, carharlie coffm and they kind of remind people that movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a metafictional dive into literally the brain of john

malkovich who was in the movie playing himself. it's one of those movies that's impossible to describe and it just sounds like you are piling one absurdity upon another. but it somehow all coheres into this just crazy and beautiful film. >> why don't you do me a favor. >> yeah. sure. >> i want you to hit me as hard as you can. >> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. "fight club," like, i think it's 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. the 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 gonna be fine. thought "fight club" could be one of those things that becomes a marker for the way we felt at a certain time. it connected right where we wanted it to connect and it's still growing. and that's exciting. that's -- that's kind of -- for me, that's the highest aspiration. >> in the '90s, you get these trends and moments that are going to carry on for the next few decades. you have this moment of really promising black filmmakers who are coming up. you have women's voices coming more to the forefront, in that they're writing films and in cases directing films. but you are also getting sort of big blockbusters. it lays the groundwork for what

we are going to see for the next 20 years. >> i want the truth! >> you can't handle the truth. ♪